#again i am perfectly aware that the person you originally bothered with this did not think they were autistic either

[miseria-fortes-viros]

Source was from this post, the person who posted it said that 120 was the average so i read the article and i can confirm it does say that. U can read it yourself if u really want.

https://www.tumblr.com/snailsthoughts/741274441477226496/psa-the-raads-r-test-is-not-accurate-and-should

yes, the raads-r is not entirely accurate and does produce false positives in the lower ranges, but that does not mean EVERY score between 65-120 is a false positive. the raads-r is an effective tool in the process of an autism diagnosis but is not and should not be the only criteria, and even the raads-r acknowledges this:

a score of 65 and all the way up to 160 can be indicative of autism but it also might not be anything. that doesn’t mean you should be going into people’s inboxes and telling them they’re definitely 100% not autistic if their raads-r score is in the low-100 range, which is an indicator of possible autism and again, NOT a diagnosis. people’s inability to interpret the very clear wording of the scoring chart is not the fault of the test. please mind your business when it comes to autistics. and if you yourself are autistic, please consider the fact that other people’s diagnoses are not your business, and it is perfectly fine for people to suspect that they are autistic and then not actually end up being autistic. thanks

[project-sekai-facts]

How are we feeling about ensekai’s emu3 translation!!! (I’m mad)

(if you remember the 3 whole posts i made when asahi got de-gayed on EN you'll know i am mad too and that this is probably going to get long)

i don't like to be too cynical but it was so obvious that they were going to change that line, i had a feeling since the event first released on JP and after the incident with Asahi where I went through and tracked down multiple other examples of EN removing queer subtext it became clear to me that in no way shape or form was "emu-chan really loves nene-chan" making it to EN without getting changed. what i didn't expect was them changing Nene's line after Luka's comment, which actually makes this whole situation far worse than many of their other instances of toning down queer subtext.

for anyone who isn't aware of what happened, in chapter 5 of the current Emu event, there's a scene where Nene, Rui and the Virtual Singers are talking about what would cheer Emu up. The vsingers all talk about how much Emu loves spending time with Nene, leading to the following exchange

If you look for them, any fan TL of this scene will be something similar to this:

Luka: ...Fufu. Emu-chan really loves Nene-chan, doesn't she? Nene: Th-that's nothing special...

EN's official translation is this:

So what's the issue? I'll start with Luka's part. In the original text, she uses the word daisuki, which can mean to "like a lot" or "love". It's a word you will see frequently in the idol/idol-adjacent genre of games, due to its ambiguity in that it can be read as either platonic or romantic when used towards a person, and often will be used in ambiguous situations so that it's harder to confirm the writers' intentions either way. so here, fans of the emu/nene ship could view the fact that emu loves spending her time with nene as more on the romantic side, but people who don't like the ship could view it as platonic and move on.

while they didn't translate daisuki directly, Luka's line still works, and still contains the ambiguity that works as ship tease in the original text. it's a perfectly fine localisation that still conveys the original intent. despite that, there is something to be said about EN's consistent refusal to translate daisuki as love in most instances when it's not used on An/Kohane (but then again, EN has literally teased An/Kohane on their twitter account so is it all that surprising?).

Here's some examples:

Aibou no koto ga daisuki de / he loves his partner -> he cares about his partner very much (The Power of Unity chapter 7 when Kaito is comparing Arata to Akito and Toya)

HARUKA-CHAN, DAISUKI DAYOOOO!!! / HARUKA-CHAN, I LOOOOOVEEE YOU!!! -> You're the best!!! (Dear Me, As I Was Back Then chapter 4 when minori is at an ASRUN concert. this one isn't actually that great of a localisation)

Honachan no koto daisuki dakara. Kore de iinda yo. / I love Honachan, so this is fine. -> I want what's best for her. And this is it. (Leo/need main story chapter 14 after Saki tells Honami she won't bother her anymore)

Minna daisuki de - taisetsuna tomodachi na no / I love them all - they're my dearest friends -> They're all amazing, and very dear to me. (Leo/need main story chapter 17. this isn't good either)

What's particularly amusing about that last one is that there's a second official translation for it that I assume was done by JP staff (since EN never promoted doing the Journey to Bloom subs like they did back when they provided subs for Petit SEKAI) that actually keeps the word daisuki as love.

Yeah. I love all my friends - and they mean the world to me.

It's a better localisation than the official EN team one.

Questionable localisation choices aside, Luka's line is fine and is actually in line with the original. The issue with this localisation very much lies with Nene's part, because that is an entirely new line.

In the original text, Nene's "that's just normal" or "that's nothing special" or however you choose to TL it, is meant to be her questioning Luka's statement, since all the things that the other vsingers said that Emu liked were pretty normal things like going shopping and playing video games with nene. To Nene, these things are normal activities for them to do together, so she gets embarrassed by the fact that Luka concludes from that information that Emu loves Nene. When I dissect it like that I think you can really tell what the writers were going for here lol.

"That's just us being friends" does still convey the idea that Nene thinks these activities aren't anything out of the ordinary and she isn't sure why the vsingers are picking these out as some of Emu's favorite things to do, but it's very different from the original line. "But those are just normal things we do together" is something I just came up with on the spot, but it's a lot closer to the original text and still conveys the same meaning. The fact they changed the line to "that's just us being friends" is, honestly, not even subtle that they're covering up queer subtext. The original scene was very clearly written in as ship tease, and EN mentioning "friends" for no reason, especially since the word nor anything close to it was not used in the original, is instantly a red flag because it's like the go-to for queerbaiting and censorship. This was intentional. There was no need for them to specify that the relationship is platonic, Luka's part is ambiguous for a reason so that fans can view it how they like.

Just to top all this off, here's Rin's original line just before that Luka+Nene interaction:

Oh, and! And! She said that playing games with Nene-chan is also super fun!

And here's Rin's line from the official EN translation:

That's not the same thing, but even more weirdly, the incorrect part (super fun->really loves) is a correct translation for the part changed in Luka's line. So, they can do it, they are willing to say "really loves", just not in the right places. Maybe because Rin's part is less personal than Luka's part? It's strange actually, this isn't the first time they've done this either. Off the top of my head I can think of an example from Shiho's Varied Kindness 2* story where they translated the word "suki" as really loves, despite that being much stronger than the original word used (and the fact that daisuki is used a lot in the Leo/need stories and it's incredibly rare if not entirely unknown for them to translate it correctly).

It's not subtle that they're trying to remove implications of the characters possibly being queer, they did it in curtain call and they did it in walk on and on, and multiple times before then too. And considering some of the content in this year's events and the amount of times they say daisuki alone, it's gonna keep happening. honestly i hate the fact that i keep trying to justify the translations in these posts. these translations are intentional. what happened in the curtain call translation back in october says enough. when a character who uses explicitly romantic language towards another guy passes as a straight character in the translation you know they're doing it on purpose.

oh and once again, it's only the EN server that has this issue. The scene in question was translated almost word-for-word on the TW and KR servers.

read fan translations. they're better than what EN gives us and people put a lot of effort into them.

[beyondspaceandstars]

Around Your Neck

Bonus: Part 2

Relationship: Bucky Barnes x Reader feat. Voyeur!Zemo Warnings: SMUT, NSFW, penetrative sex, choking, metal arm kink, fingering, public sex, voyeurism, degradation, humiliation, dirty talk - 18+, minors DNI. Summary: Zemo was quite intrigued by you and Bucky fucking on his plane that he takes some bold steps when he sees you two running off to do similar activities on another one of his properties. A/N: alright! this idea actually stems from a conversation that took place in the original ‘Around You Neck’ piece. A reader (see full exchange below) threw around the idea of Zemo watching and someone second but it took me a while to actually get down how to go about this although i think i got it I THINK I DID GOOD. i enjoyed it so fingers crossed this lives up to any expectations

Masterlist | Part 1 | Part 3

Things had gotten hot and heavy between you and Bucky once again upon settling into Zemo’s place.

Once the gig was up and everyone was fully aware of your particular interest in a particular arm, you didn’t even attempt to hide your lustful gazing.

And something about that sure got Bucky going.

He pushed you against the wall of the fancy bathroom. His lips were on yours from the second he made some lame-ass excuse to pull you away from Sam and Zemo. 

Sam had chosen to ignore it, not feeling like now was the time to lecture either of you. Zemo on the other hand had watched silently as Bucky’s hand gripped the back of your neck and your thighs twitched in response before you two disappeared into the bathroom. 

You had felt Zemo’s eyes on you two as Bucky fumbled with the door before shoving you in, deepening the kiss, but you had chosen to ignore it and instead got caught up in the sensations of your boyfriend. 

Nearly everything in the world had been forgotten the moment Bucky lifted you up and your legs wrapped around his torso. He walked you carefully backward, your back hit a wall.

“You’re driving me absolutely mad,” Bucky whispered in your ear, his voice as rough and passionate as his actions. His hardness grinded into your heated core as he spoke, earning a pathetic whine from you.

“I-I haven’t done anything.” You just about giggled at the end of your claim of innocence. Bucky responded by attacking your neck with kisses, nipping and sucking as he made his way across your hot skin. 

You let out a light moan and made your own grinding actions against him. He shook his head, trying to taunt and deny you, but then little begs fell from your lips. The sweet sounds of “please” always made him absolutely weak - not that he’d ever admit it. Instead, he slowly let one hand make its way to your pants button while his metal arm held you perfectly. 

When you realized the position, you swore you could feel yourself getting wetter. Just the realization he was holding you with one arm - the metal arm - so effortlessly while his other hand started work on giving you some relief made something turn in your stomach.

Bucky must’ve realized all this as he let out a deep chuckle once he undid your pants and shoved his hand into your panties. Two fingers first started little circular motions on your clit before moving them over your soaking folds. 

He inserted the, slowly, letting you feel every inch of his fingers. “So fucking wet,” he groaned in your ear as he planted a kiss on the corner of your mouth. “Haven’t even done anything yet it’s a fucking puddle in your panties. Ridiculous.”

The degrading words did not help your situation as you let out a loud gasping moan. Bucky was enjoying this, letting you be as loud as you wanted despite the others clearly in the house. You could only hope that they had decided to leave upon catching wind of what you two were up to. 

But that turned out not to be the case. 

As Bucky began adding a third finger to the mix, the bathroom door opened. At first, you didn’t even notice it. Eyes closed, your brain was only focused on getting your boyfriend to hurry up and fuck you, you were totally lost in your own world. For your super-soldier ex-assassin boyfriend, though, it was harder for him to turn his senses off. 

Abruptly, all motions stopped. Bucky lifted his head from your neck as his fingers stilled inside you. You opened your eyes unwillingly and looked down at your boyfriend. His eyes were wide as yours were furrowed in confusion. 

A heavily accented voice cut through the silence from the doorway. “Don’t stop on my account.” 

You gasped - and this time it wasn’t one of pleasure. You started wiggling, trying to get a now furious Bucky away from you. He caught on and ripped his hand from your pants. Angry but still handling you with care, his arm placed you back on the ground. You turned away from the door, trying to fix your clothes as Bucky faced the intruder. 

“What the fuck are you doing? Get the hell out.” Bucky’s voice boomed throughout the room, bouncing off every tile. 

You flinched at the sound as you turned around, presently decent. Your eyes fell on Zemo who was currently leaning against the doorframe, a stupid smirk on his face and a fire in his eyes. 

He shrugged, completely unbothered, and slowly closed the door again behind him. “Can’t a man watch what’s happening in his own home?” You and Bucky shared a questioning glance. “You two just seem to like sneaking off. Forgive me if my curiosity has peaked but this is a fascinating situation.”

“What the hell are you going on about?” You sighed, frustrated in more ways than one. 

“I’m a man who likes to know what’s going on,” he crossed his arms, “especially when it’s happening in my space.”

“I really don’t-,”

“He wants to watch,” Bucky cut you off but his eyes were still trained on Zemo’s cocky, slightly too proud stance. Your stomach unexpectedly fluttered. 

Taking a deep breath, you asked, “W-Watch?” Your voice was suddenly weak as the frustrations - the good ones - hit you again. 

“Hmm, interesting,” said Zemo as if he was casually thinking out loud. As if this was the perfect time for some brainstorming session. Your blood was boiling at his casualness.

You rolled your eyes, biting the bait that he cast like a foolish, edged woman. “What’s interesting?”

“You didn’t say no.”

You and Bucky began spewing protests to his claim. 

“I-I was in shock-,” 

“It doesn’t mean anything-,”

“You’re insane-,”

Zemo lifted his hand to stop you both. Your two voices were getting muddled as your words fought to defend. You gave in, quickly halting all complaints. You could see from the corner of your eye Bucky watching you a bit cautiously now but you didn’t want to face him. You still, for some reason, felt hot and bothered by this… proposition.

“Am I really that insane?” He asked, taking a slow step towards you. “You think you’re hiding it but you can’t stop shifting your stance and those pretty thighs won’t stop squeezing together.” Zemo paused, chuckling a bit to himself. You glared, keeping your eyes locked with his despite how overwhelming it all was. “Are you going to tell me that I’m wrong, dear? Because I don’t think I am. In fact, I think you’d more than just enjoy it. I think you actually crave it.”

Your heart sank at Zemo’s publicized revelation. How the hell did he even pick up on that? Was he somehow in your fucking mind? Your eyes searched his expression, looking for signs that he was pulling your leg or playing some fucking games but his features were cold with a hint of curiosity. You weren’t sure what to say because, well, he really wasn’t wrong. But this didn’t stem from some blatant attraction to Zemo (even though that desire certainly was harboring deep, deep within you), you had always had some interest in sexual adventures on the more voyeuristic side. 

Bucky, however, didn’t know any of this. 

For all the intimate actions you two had already explored -- including the new-found metal arm kink -- you hadn’t brought this up, finding it to be some ultimate, untouchable achievement with your partner.

Bucky said your name, pulling you out of your dazed thoughts. You finally faced him, taking in his not-so-surprising expression of wonder. “Is that true?” There was something in his tone that made your heart leap. He was… excited, you thought. “Is this making you…”

Your mouth opened but no words came out.

Zemo opted to answer for you. “You know it is, James.”

Bucky licked his lips and took a couple of steps towards you, focused on getting an answer personally from you. He was very close now, pretty much towering of you. “Does the thought of someone watching us make you wet?”

His words hit the room like explosive bombs. You gasped at the boldness, trying to act all surprised at the question, but your body couldn’t hide anything, especially not when Bucky’s metal arm came up to trace invisible lines across your neck. He held your head up, forcing you to keep your eyes on him. The entire situation felt so powerful.

“N-No.”

Both Bucky and Zemo let out scoffs in disbelief. You sighed, defeated. 

“Oh, really?” Bucky inquired as he began walking towards you again, getting so close that you had no choice but to back up. You hit the wall once again, feeling almost in the position from earlier. 

Without any warning, Bucky undid your pants and once again shoved his hand back to your core, letting his fingers run over your folds. If your panties had a puddle earlier, it was now a full-blown ocean down there. You yelped in surprise.

Bucky hummed as he let his fingers play. “I think the thought makes you very wet.” He pressed into you just a bit more, enough for you to now feel his erection through his jeans. 

As Bucky inserted two fingers in you, he moved his head to meet yours. You grabbed onto his shoulders as the hand on your throat forced your head to tilt to the side, making room for him to whisper in your ears. 

He pumped his fingers slowly as he spoke, “You’re really enjoying this, aren’t you?” You let out a pathetic whine. “Yeah, you sure are,” Bucky chuckled. “I can feel it. I can feel you soaking my hand and why is that? Because someone is watching you? Someone’s watching you take my fingers like a good girl while my hand is wrapped around your pretty throat, just how I know you like it. Isn’t that right, dear?”

Bucky sneered, his voice full of arousal and jealousy, at the little pet name Zemo had used on you. You just about collapsed when he spoke. If it hadn’t been for Bucky’s strong body pressing into yours, you would’ve melted into the floor. Not to mention, you could feel Zemo’s eyes taking you in, raking over you so shamelessly as you twisted and squirmed from Bucky’s skilled fingering. 

“She is quite the sight,” Zemo commented, making observations as if you weren’t even in the room. For some reason, that made everything hotter. 

“M-More-,” you choked out and began grinding your hips against Bucky’s body. His grip on your throat got a bit tighter at your movement, forcing you to let out a moan. 

“You want more?” Bucky taunted you as his thumb came up to circle your clit. You yelped, moving your hips even more. His body was still holding you down. “You want me to fuck you right here for him to see?” 

Your eyes had fluttered close by now but Bucky wasn’t dealing with that. The hand on your neck left and found its way into your hair. He gave your hair a tug, forcing you to keep looking at him. His eyes bore into yours, full of lust and pleasure. His features, though, were harsh and serious. You felt your orgasm coming in hard. You couldn’t even think straight to nod at his ridiculous question. 

Bucky seemed to know all this, though. Just as fast as he put his hand down your pants, he removed it, making you let out an angry, pitiful whine at the loss of contact. Bucky just shook his head and forced you to turn around. Now your front was completely pushed against the wall and Bucky was working fast to get your pants and panties off. 

You couldn’t really see anything behind you now and somehow, this got you going even more. You lost pretty much all control in this position. Your awareness was flying out the window. You had no idea what Bucky’s next moves would be and you certainly didn’t know how Zemo looked taking this all in.

Suddenly, though, a hand came up to your cheek, brushing back your hair. You knew immediately it wasn’t Bucky.

“You look so pretty, dear,” Zemo whispered. His hand caressed your cheek as his eyes stared into your blown-out ones. “Like an absolute goddess.”

Before you could even respond or at least show acknowledgment, Bucky entered you full force, his hips completely jutting against you. You let out a cry at the fullness, completely stunned by the boldness of your boyfriend. He groaned lowly in your ear as he worked his way well deep into you. 

“B-Bucky-” Your cries were loud as you adjusted to the size of him, now planted rightfully in you. While there was some discomfort, all you could register was the pleasure you had been denied for what felt like forever.

“Shh,” he hushed you, his mouth right against your ear. “You’re taking it so well, doll. My good little girl.”

You could’ve sobbed at his words of encouragement. He watched you for a second, still paused inside you, before feeling that you were okay. Then the pumping began, in and out of you, just as powerful as when Bucky first entered you. His rhythm was hypnotizing as he fucked you forcefully into the wall. 

Upping the ante a bit, his metal arm came around to your neck, squeezing gently but with determination. You felt yourself get wetter at the action.

“There you go,” Bucky mumbled, sounding lost in his own daze. “Just like that, sweetheart. Got me fucking you against a wall, my hand around your throat, while we have a little audience. But that’s what you wanted, right? You wanted to show off how you like to get fucked.”

Somehow, his words were so degrading yet so pleasing. They went straight to your core causing the sound of your wetness to begin filling the room. You heard Zemo chuckle at the shift. 

“Such a dirty girl you have, James.”

Bucky scoffed. “What a naughty girl I have. Didn’t even tell me she likes it when people watch.”

You whined at the statement but didn’t have much time to ponder it as Bucky pulled out of the way out only to shove right back in, forcing you to take his length in one motion. Your cries were becoming a regular thing now, completely engrossed in the situation.

“That’s it, sweetheart, so good,” Bucky grunted in your ear as his hand on your throat got tighter. “Gonna cum for me, yeah? Gonna come while he watches? Come on, doll, let him see how pretty you look falling apart.”

That was all it took. Your orgasm rushed through you the second his words stopped and he gave another strong pump. Slightly ashamed of yourself for how little it took for you to cum, but who could really blame you? Denied twice, you were always on that teetering and all that was needed was Bucky’s permission. 

You shook under Bucky as he stilled inside you, letting his own orgasm take him over. He finished inside you, groaning and moaning pleasantly in your ear as you squirmed. The sensation of it all, from the warmth of Bucky filling you to Zemo’s eyes still shamelessly watching, had you overwhelmed quickly. 

Bucky whispered sweet praises in your ear as you two calmed down. “So good for me, sweetheart. Absolutely fucking perfect. Can never get enough of this.” His words made you feel warm and definitely helped you catch your breath. 

When he saw you were going to be fine, Bucky pulled out and reached for a towel to clean you up. He was gentle and caring, a complete contrast to just minutes ago. 

Pants and underwear returned to your body and you pushed yourself slowly away from the wall, carefully finding your footing. 

Once you and Bucky had straightened up your appearance, Zemo spoke. 

“That certainly was a real treat,” he said with a cocky smile playing on his lips. You couldn’t really face him and instead focused on the floor. Bucky placed a gentle hand on your waist. “Nothing to be ashamed of, dear. I think we got what we all wanted, right?”

You mustered the courage to at least look up at Bucky who was just rolling his eyes. 

“Could you leave us for now?” Bucky sighed.

“Why?” Zemo asked. “Going for round two?”

You shook your head, fighting your own urge to roll your eyes. No matter how mad you actually wanted to be, though, you had certainly found a lot of pleasure in the events just seconds earlier.

Bucky went to snap back with some remarks but Zemo cut him off. “I’m just kidding,” he said and then began walking to the door. “Thank you for this opportunity. It will certainly be treasured.”

With that, he exited, leaving you and Bucky standing there, staring at one another. Surprisingly, nothing had felt it changed between you two. In fact, you felt better now that that little secret of yours was now out in the open. 

“So,” Bucky began with the tiniest smirk, “are there any other kinks of yours I need to know about?”

You groaned as Bucky chuckled, finding way too much amusement now. “Shut up.”

[ratofthemedievalsewers]

Heart of Steel - Part I

DBH Connor x Male Reader

Word Count: 2.5K+

Content warning: Minor injury detail, PTSD, language

Original game dialogue I got from this video:

https://youtu.be/32Np9LKI1Vg

We were attacked in the night.

After returning from a mission back to an outpost several miles from the red zone, we removed our gear save for a few pouches on our belts we could bother with later. Our team leader set up a fire while the SQ800s, CyberLife commissioned combat androids, began loading up the trucks with extra artillery and resources. A job that could have waited until morning, but Alpha always gave the androids something to do. He said that they creeped him out when they would just stand there in a dormant state, waiting for their next mission to be given to them.

"You know what I'm going to do when I get home?"

"Here we go again."

"I'm going to get me a WR400," Foxtrot; not everyone's favourite but he certainly kept us entertained when there was nothing to do.

"Uh-huh and with what money are you going to be using to pay for this WR400? A military salary definitely ain't gonna cut it." Echo always called out Foxtrot's bullshit, he was the only one that had the patience to deal with him.

"Fine, my birthday is comin' up, if you put towards two-thirds of what it costs we can share. How does that sound?"

"I am not sharing anything with you, I don't know what diseases you carry." Their constant back forth sent chuckles through the group.

"Alright, that's enough you two. It's getting late and past everyone's bedtime, I want you all awake by O-five-hundred at the latest," Alpha would often stop them before Foxtrot would take it too far, but he could never hide the twitching smile on his face.

"Yes sir," Foxtrot mock saluted as he stood from his seat around the campfire. "Hey Echo, that offer is still-"

One moment Foxtrot had a wide grin on his face, the next there was a hole in his head between his eyes, the sound of gunshot ringing in everyone's ears.

"SHOTS FIRED! GET TO COVER NOW!"

"FOXTROT IS DOWN! I REPEAT, FOXTROT IS DOWN!"

It was dark, we couldn't see where they were firing from. The android was the only one still standing, firing off in random directions as they were gunned down. The next was Delta, shot in the left shoulder, then the throat. My gun was back in my tent and there was no chance of me getting it. Stupid.

"MEDIC! GET TO DELTA! NOW!"

"GRENADE!"

I heard the thump by my feet before I saw it. You would think it would be terrifying, to know you're staring death in the face, but for a second it was peaceful. My body was cold and I already felt like a corpse, the Rigour Mortis freezing me in place, just softly gazing at what would kill me.

Something grabbed me before the grenade exploded, saving my life but destroying the android.

The bedsheets were crumpled and soaked in sweat again when my eyes shot open. It was hard to breathe, the panic was still running through me and closing up my throat at the memory.

In; one, two, three, four. Hold; one, two, three, four. Out; one, two, three, four. Hold; one, two, three, four.

It took a few minutes for me to remember where I was. That I was home and that I was safe. Out of nervous habit, I gripped my dog tags, they were wet from the sweat that had soaked through my shirt in the night.

"Shit." It was four in the morning, there was no chance of getting any more sleep and the station wouldn't be open for another two more hours at the least. Saying that; Fowler wanted to speak to me first thing, which never meant anything good for anyone.

It was aching again at the joint. The biomechanical component always felt itchy where it joined at the elbow. Anytime I would have that dream I would scratch at it in my sleep, it was like my subconscious knew it didn't belong. It knew my rotting left arm was still in the desert somewhere being picked apart by vultures.

It's almost ironic; to be saved by an android and then to have part of one attached to me. I hated it.

*****

"Morning Cyborg, you look like shit." Gavin was forever pleasant to talk to.

"Fuck off, Reed." He constantly hovered around the coffee machine, hogging it like it was his newborn baby. "Is Fowler in yet?"

"Not yet, you in trouble?" He took his time making his coffee, exceeding in being the department's resident asshat. "Did he catch you looking at porn on your work terminal again?"

"I'm pretty sure that's only ever happened to you." Not wanting to be reminded of his previous escapades I got no response. Gavin let out a small huff before moving to the side with his fresh cup of coffee, freeing up the machine.

"Officer (L/N)." Oh for fuck's sake.

"Sir?" Captain Fowler stood outside his office, his coat half soaked from the rain.

"My office, I need to speak to you." He didn't give a second glance to me before turning and letting the glass door shut behind him.

"Ha, good luck cyborg." Shooting Gavin the middle finger, I followed Captian Fowler into his office.

"What was it you wished to talk about, sir?" Feet shoulder-width apart, back straight and hands behind my back; habits from the army were destined to die hard. Often I would find myself moving my hand up to salute before leaving the presence of a superior, something else for Gavin to make fun of.

"You're aware of the deviant cases I've assigned to Lieutenant Anderson, correct?" Fowler sat at his desk, wet coat now hung on its rack, but there was slight dampness to his suit blazer where his coat had been left open.

"Yes sir. I believe he's being accompanied by a prototype RK800 from Cyberlife."

"That's correct. I'm sure you're aware that these deviancy cases are on the more..."

"Dangerous?"

"...Unpredictable side. Now, I can't exactly issue a gun to a prototype android if it's going to be in the field and, while I value Hank as a police officer, his record is on the rougher side."

"Captain Fowler, with all due respect, I don't believe-"

"Office (L/N), with all due respect, you don't have an opinion in this matter. I want you to accompany Lieutenant Anderson in these assignments just in case a deviant becomes too much for him or this android to handle. You've certainly got the skillset for it and you're not unfamiliar with working alongside androids, unlike quite a few officers in this department."

"I understand that, but-"

"Whatever you're gonna say I don't want to hear it." Captain Fowler didn't give me a chance to argue as he stood and walked to his office door, the annoyed look on his face worsening. "Hank, in my office!"

I let out a sigh before Captain Fowler turned back to his desk. Through the office wall made of glass Hank reluctantly made his way towards us grumbling something under his breath at the request, the RK800 model obediently following behind him like a little, lost puppy. Hank sat in the chair opposite Fowler while the android stood next to me, giving a small smile as a greeting.

Captain Fowler was the first to talk, "I've got ten new cases involving androids on my desk every day. We've always had isolated incidents, old ladies losing their android maids and that kind of crap... But now, we're getting reports of assaults and even homicides, like that guy last night. This isn't just cyberlife's problem anymore, it's now a criminal investigation and we've gotta deal with it before the shit hits the fan. I want you to investigate these cases, alongside officer (L/N) and see if there's any link."

"Why me? And why do I need a god damned partner? A stupid android is already too much. Why do I gotta be the one to deal with this shit?" Props to Hank for trying, but arguing with Fowler was like talking to a brick wall. "I am the least qualified cop in the country to handle this case! I know jack shit about androids, Jeffery. I can barely change the settings on my own phone."

"Everybody's overloaded. I think you're perfectly qualified for this type of investigation," They were already starting to blow up at each other.

"Bullshit! The truth is nobody wants to investigate these fuckin' androids and you left me holdin' the bag!"

"CyberLife sent over this android to help with this investigation and I've given you (L/N) as well. You've got a state of the art prototype and a leading police officer to act as your partners."

"No fuckin' way! I don't need partners, and certainly not this plastic prick and some action hero fucker."

"Nice working with you too, Lieutenant Anderson," I said under my breath, not intending for the others to hear. Connor turned his head slightly in my direction, I could see his LED blink yellow for a moment before going back to its bright blue.

"Hank, you are seriously starting to piss me off! You are a police lieutenant, you are supposed to do what I say and shut your goddamn mouth!"

"You know what my goddamn mouth has to say to you, huh?"

"I'll pretend like I didn't hear that, so I don't have to add any more pages to your disciplinary folder 'cause it already looks like a fuckin' novel! This conversation is over."

"Jeffrey, Jesus Christ! Why are you doin' this to me? You know how much I hate these fuckin' things. Why are you doin' this to me?" Most of the department knew why he had such a distaste towards androids, no one could necessarily blame him. Ever since losing his son Hank had become completely different as both a person and an officer. Admittedly, Fowler was harsh on him, but if he wasn't then Hank would drift.

"I've had just enough of your bitching. Either you do your job or you hand in your badge. Now if you'll excuse me, I've got work to do." Hank left in a strop, letting out his frustration on Fowler's office door.

"Well then..." Connor was quick to break the tense silence. His voice caught me off guard, it was smoother, more human than any android's I had heard before. The SQ800's voices had always been more robotic than other models so it had been a shock when the androids back home had sounded so normal, it felt like that all over again. It was jarring. "I won't keep you any longer. Have a nice day captain."

Connor left and I followed behind, giving a small nod of dismissal to Fowler despite him still looking at his terminal screen.

The android went straight to Hank either oblivious or ignoring the lieutenant's current bad mood, granted there was never a time the bastard was in a good mood. Heaven itself could rain down on Detroit and he'd huff at it like a hair in his food.

"I got the impression my presence causes you some inconvenience, Lieutenant. I'd like you to know I'm very sorry about that. In any case, I'd like you to know I'm very to be working with you." Ever the enthusiast.

"I'd give in now. You're talking to a toddler in a fifty-year old's body and the toddler is having a hissy fit." I half sat and half leant against Hank's desk, using my arms to support my weight.

"Apologies, I don't believe I've introduced myself. My name is Connor, I am the android sent by CyberLife." He turned to me, a gentle and manufactured smile on his face. "It's a pleasure to be working with you too, officer (L/N). I'm sure we'll make a great team."

"Er... (Y/N) is just fine."

"Is there a desk anywhere I could use?"

"No one's using that one." Hank points to the desk opposite him, while still sulking like a child.

"Gasp, it speaks," I said in a sarcastic tone while turning to Hank.

"Fuck off. I've already got an android on my ass, I don't need you on it too."

I grabbed a terminal pad before perching myself back at the edge of Hank's desk while Connor got comfortable at the empty one. The light at the side of his head flashing yellow for a moment like he was hesitant to speak."You have a dog, right?"

"How do you know that?"

"The dog hairs on your chair. I like dogs. What's your dog's name?"

"What's it to you?" Hank shifted in his seat, "...Sumo... I call him Sumo."

"Under all those shitty shirts and questionable stains there's a warm, beating heart," I say more to myself than the other two, skimming over the recent case files sent in by Fowler.

"Officer (L/N)... (Y/N), knowing that we'd be working together I read your academy and field records. You have quite an interesting background."

"Oh yeah, then you understand that I may be a little driven to get these cases over with. I can't say I'm a fan of you terminators."

"I understand you have a... warped view of androids due to what you've experienced, but I hope you understand that I am your partner and not your enemy."

"Connor, you're not my partner, you're cyberlife's latest gizmo for us kick around." I sigh, turning to sit at my desk adjacent to hanks, taking the terminal pad with me. "Just look through the deviant case files. Terminals on your desk, knock yourself out."

They're nothing but machines. They are not your friends.

"Two-hundred and forty-three files, the first date back nine months. It all started in Detroit... And quickly spread across the country." Connor had only connected the terminal moments before.

"Don't work your CPU too hard," I mutter under my breath, catching a quick huff of amusement from Hank.

"An AX400 is reported to have murdered a man last night. That could be a good starting point for our investigation." Hank was doing his best to pretend Connor didn't exist, but the android was persistent. Connor stood from his chair and made his way into Hank's personal space.

"Uh, Jesus..." Hank turned his chair away.

"I understand you're facing personal issues, Lieutenant, but you need to move past them and-" For an android, Connor has some balls on him.

"Hey! Don't talk to me like you know me. I'm not your friend and I don't need your advice, okay?" Hank's mood had soured like milk, it wouldn't be long until Fowler was adding another page to Hank's disciplinary folder.

"I've been assigned this mission Lieutenant, I didn't come here to wait until you feel like working."

"Connor, you're just gonna-" I had wasted my breath, Hank had already stood and was grabbing onto Connor by the collar of his Cyberlife jacket and slamming against the screen next to his desk. "Hank!"

"Listen asshole. If it were up to me, I'd rather throw the lot of you in a dumpster and set a match to it. So, stop pissing me off... or things are gonna get nasty."

"Hank," I placed a hand on his shoulder to try and lightly pull him away from Connor but only earned a nasty side-eye. "Leave off him, you don't get paid enough to replace him."

"Lieutenant... Officer (L/N), uh... sorry to disturb you," Looks like the tin can was saved before Hank could knock the light out of him, "I have some information on the AX400 that killed that guy last night. It's been sighted in the Ravendale district."

"I'm on it." Hank didn't glance back when he dropped Connor's collar. The puppy dog look on his face almost made me feel bad for him... almost.

"Come on, WALL-E. Don't want to keep the old man waiting."

[crimsonophelia]

hello basil!!! i’m the anon that sent the original request of reader being a big dumb dumb and accidentally mailing their love letters to childe in liyue—i personally just wanted to tell you that i absolutely LOVED what you wrote and that i’m so happy and grateful you did my request justice. keep up the good work!!!

if you wouldn’t mind, could i request for a hurt/comfort angst with kaeya and a gn reader? the reader is a fellow knight of favonius that regularly gets dunked on by their friends for their crush on the cavalry captain—but every time their friends insist they confess to him, they joke that “sure, i’ll tell him when i die.” and then they actually nearly die.

while on a mission with kaeya, something terrible happens that seemingly pushes the reader to the brink of death. they’re in his arms and convinced they’re about to die, so with their “dying” breath, they tell kaeya that they’re in love with him before the world goes black.

but then they wake up. 👁 (you know the drill—what happens next is completely up to you!!!)

featuring: kaeya x gn!reader

warnings: good ol' angst, some descriptions of blood, lots of typos lol

published: may 27, 2021

form: imagine

a/n: hi anon!! i'm glad you liked that imagine www and thank you for sending me ideas again! you know how much i love angst and kaeya lol~ also please forgive me for making it so long, i tried to challenge my writing abilities a bit more.

You came into this mission knowing that it would be quite a bit more difficult than the ones you typically took on. You were merely a B-rank knight, working on your certification to reach A-rank status, which definitely was not an easy feat. Yet the open commission to investigate a newly-uncovered set of ruins in Dadaupa Gorge was requiring one more member of the dual-member expedition team. When you saw who had occupied the first position for the mission, you threw caution to the wind and signed your name for position two, despite the mission being ranked A-level, at the very least. The occupied position? Filled by none other than Kaeya Alberich, captain of the Knights of Favonius cavalry, S-rank soldier and swordsman, and your former mentor. Who also happened to be the man you had hopelessly fallen for. 

The mission was assigned by the headquarters of the Knights, specifically for fully-trained Knights only, as the nature of the mission would be too dangerous for your run-of-the-mill adventurer team, and the Knights did not want to be held accountable for any potential casualties or injuries as a result of a mission gone wrong. You and Kaeya had been assigned to go investigate a newly-uncovered set of ruins in the Whispering Woods, supposedly already showing signs of being an Abyss rendezvous point. Apparently, the team of archaeologists who uncovered the ancient rocks from behind a thicket of trees had had many difficulties even making it back to the city of Mondstadt alive. You were frightened, no doubt about it, but you also knew that this was your chance. Your chance to prove yourself and your capability as a knight. Back in your training days before you took the certification exam to become a knight, you were Kaeya’s favorite pupil, a star student. Also possessing a Cryo vision, like the captain himself, certainly did not hurt your reputation in his eyes. Now, having taken on and excelled at countless dangerous B-rank missions, you felt confident in your ability to take on a mere A-rank mission, especially with the captain of the cavalry at your side. 

You had almost forgotten about the icy presence at your side, lost in your own daydreams of ambition. After following the paths leading out of Mondstadt, weapons and supplies ready at hand, you and Kaeya had finally made it to the edge of the Whispering Woods. It was starting to get dark, even though the two of you had left reasonably early in the day. The woods seemed so much more vast when their shadows grew longer, waning by the last seams of daylight. Faint howling moaned through the leaves (”Wolves? In the Whispering Woods?”, you thought to yourself), and you felt yourself tremble in the slightest. You couldn’t tell if it was due to the fear or the overwhelmingly strong Cryo aura that Kaeya emitted.

The tall man seemed unaffected by the ominous surrounding, forever carrying himself with an unwavering assuredness. He looked onwards, into the woods, eyes darting back and forth, exhibiting the remarkable surveying skills of a seasoned knight. 

“Well, [y/n]”, Kaeya turned to you, with that smug yet rather comforting voice of his. “Are you ready?”

Kaeya’s unshakeable confidence was rather spiriting, you had to admit. Nothing like traipsing into a wild forest, overrun with archons-know-what, with only your own wits and a cunning, distractingly handsome knight to guide you. 

“Ready as I’ll ever be, I suppose”, you replied, trying to hide the rookie anxiety from trembling your voice. Damn it, you weren’t even a rookie. You were one of the more experienced knights in the entire Knights of Favonius. You could handle this. Plus, Kaeya has your back. In all the years you had known him, Kaeya had never dropped that rogue-ish grin off of his delicate countenance--he had the face of a prince, but marred with the implications of his mysterious eyepatch (he had never told you how he had lost that eye) and the pierce of his sly smile. It made him all so painfully attractive. 

You hate to recall the very first day you met him, the two of you only teenagers, barely adults grown into their own skin, yet he stood at the front of the training yard like the prolific swordsman he was, tan skin gleaming beneath the summer sun, hair tied behind his neck, sinewy muscles stretching as he maneuvered the sword in his hand like it was an extension of his own being. That day, you swore that you would become like Kaeya, that you would learn all you possibly could from him. That was also the day you had fallen hopelessly for the charismatic boy, though you were not aware of it just yet. 

Trudging into the forest, you made sure to clutch the weapon at your side a little tighter, wary of any potential threats that could appear in front of you at any moment. You never know how much the Abyss mages could use their magic--they are always using the spirits of Teyvat for evil. Although you had only encountered Abyss mages a small handful of times in your past B-rank missions, you already knew how perilous an interaction with any of them could be. The last time you and a partner engaged with a Pyro mage, you left the site with severe magic burns to your side, which took at least three months to fully heal. Looking at Kaeya, he appeared to be as relaxed as ever, both hands loosely tucked into his pockets, his steps led by his elegant hips. The eerie silence of the woods didn’t seem to bother him at all, a comfortable void between the both of you.

“So, captain”, you begun, doing your best to break the proverbial ice a bit, trying not to let the emptiness of the whole forest get to your head. “How have you been? It’s been a while since we last took an assignment together, I believe. 3 months already, isn’t it?”

Kaeya chuckled. “Oh, drop the formalities, [y/n].” He looked at you with his singular, unobscured eye with a teasing glance. “You’ve always known me as just Kaeya, havent you?”

Blood rushed to your face, although not entirely unwelcome, due to the chilliness of the forest. You hoped that the twilight shadows could hide your red cheeks from the man beside you.

“To answer your question, I am doing exceptionally well, thank you”, he smirked. “Although, the last time I did see you was only about a month ago, at the Windblume Ball. Not sure if you remember it all though—you were rather... intoxicated, it seemed.”

Oh, archons. You didn’t know if your face could possivly get any redder from the embarassment. The Windblume Ball was a month prior, hosted by the Knights for all citizens of Mondstadt to attend, to end the Windblume Festival with a night of wine, music, and dancing. Your group of friends within the Knights convinced you to attend along with them, though they didnt quite succeed at convincing you to finally confess your attraction to the captain of the cavalry himself. You acquiesced only on the condition that you would not have to interact with Kaeya at all that night. The anxiety was simply too much and you did not want to deal with the potential situation of seeing Kaeya in formalwear and absolutely losing your mind, let alone Kaeya seeing you dancing and drinking.

“Oh, come on, [y/n]”, your friends had whined. “If you don’t tell him now, when will you ever? He most definitely finds you attractive, as well.” Chuckling, you took a sip of the wine lrovided by the Dawn Winery. You cringed at the sourness of cheap grapes. “I’ll tell him when I’m dead.” You took another sip of the wine, but over the rim of the glass, you saw the one person you were hell-bent on avoiding.

Kaeya Alberich stood across the room, talking to one of the other knights. He was dressed to the nines, in clothing you had never seen him don before. His hair was parted neatly, his long lovelock secured by a large sapphire band. His lean, upper body was covered by a three piece suit, fitted perfectly around his narrow waist, tailcoat resting neatly by his thick, carved thighs. His pants were pressed tightly, without a wrinkle, and he had brought along his usual white fur cape, giving him the sophisticated look of a king.

In awe, you spluttered in your drink as he caught your eye from across the room, clearly noticing you were staring at him. You turned the other way, seeing that your friends were making fun of your oblivious gawking, and they now excitedly pointed behind you, mouthing the words he’s coming! You tried your best to smooth down your hair and pat down your outfit, before turning back around to see that the captain was standing in front of you, face-to-face, with his hand outstretched.

He looked even more sparklingly glamorous up close, an image of old-world elegance that you never knew him capable of portraying. You suddenly felt more drunk than any cheap wine could possibly make you. Kaeya looked at you, a gleam in his eye, and asked

“May I have this dance, [y/n]?”

The rest of the night was a blur, what with your continued consumption of alcohol, convincing yourself you needed to periodically top up your liquid courage. Kaeya had asked you for a few more dances, as far as you remembered. But from what you could recall, he was just as elegant and charismatic as you had always remembered him to be. He never made you feel out of place.

It was awful that Kaeya only seemed to remember how disgustingly drunk you were, but you were thankful at least that he didn’t seem to recall the perpetual state of flusteredness you were in that night, by his mere presence beside you, and his hands guiding yours as you both danced to the upbeat music of the band.

“Archons, I assure you that I am not the unabashed drunkard I may have seemed to be that night”, you chuckled.

Kaeya let out a hearty laugh, his voice reminding you of the sounds of the bells ringing atop the Cathedral. “Of course not, my dear”, he drawled. “I’ve met many a drunkard in my day—you are far from one; I promise.”

You and Kaeya kept on your way in this manner, making pleasant small talk to fill the silence. You didn’t dare tell him for fear of seeming a coward, but hearing his voice and reminiscing with him diminished the fright you initially felt, entering the woods and taking on this assignment. Kaeya was a master conversationalist, and diplomat too, no doubt, always knowing what to say at what time. His warm remarks and playful banter took your mind off of the imminent danger of your situation, and you didn’t notice the path you were both on narrowing. The sun had already set, and the woods were doused in an eerie darkness, and as you and Kaeya approached the vicinity of the ruins, the thickets grew denser and the tree branches hung lower. Not a sound could be heard--

Until suddenly, Kaeya stepped in front of you, blocking your path with an arm outstretched. Shit. You smelled Abyss magic. How could you have possibly missed the putrid scent of sulfur before? 

Kaeya’s grin had fallen. His attention was now beyond only you, as if trying to detect something he sensed nearby. Out of nowhere, a hum grew, louder, until an earblasting pop rang out in front of you and Kaeya, and in its place were three Pyro Abyss mages. Three. You could handle one, if you had a partner with you, but three? 

Terror ran down your spine, knowing how difficult your Cryo vision could be against a Pyro mage. Your hand unsheathed the sword at your side with blinding speed, just like you were trained, but before you could even take a step forward, Kaeya was already charging at the mages, ice blasting forth from his swordtip, smashing up against the mages’ shields.

“Aren’t ya glad I caught that, [y/n]?” Kaeya teased, sword cutting through the air and the force fields surrounding the mages, as their strained groans pierced the night air. His movements were swift and effortless; at times his movements were so fast that it looked like he teleported from one spot to the next. This was the grace, the beauty of a true prodigy. “If I hadn’t stopped you, we would’ve been roast boar by now!” 

You jumped into action, assisting Kaeya with his assaults against the mages, doing your best to dodge the onslaught of fireballs. You felt the heat of the fire magic graze your extremities more than once, counting your blessings that it was nothing critical. The way the two of you moved in unison, one complementing the other, like an avalanche of piercing ice, was a testament to the years of experience you gained in under Kaeya’s expert tutelage. One sword piercing the left, the other the right, until you both had broken down two of the Pyro mages’ shields. You had never gotten through their force fields in such rapid succession before, you thought, in awe. Swinging your sword calculatedly, whilst utilizing your vision and shooting out ice crystals, you defeated the mage, dealing a killing blow, piercing its side with your sword. You watched the creature groan out gutturally, and eventually dissipate into ash, drifting away. 

Turning around, you noticed that Kaeya had already taken care of the other mage, already breaking down the final one’s shield. He dodged each blast of Pyro magic with grace and ease, not even showing any sign of fatigue. 

“Hey, good work rookie!”, Kaeya teased, activating his ultimate Cryo weapon, sending a halo of ice crystals about his body, knocking into the mage’s shield with every swing.

You huffed. “I’m not a rookie”, you called back, joining him in his siege upon the last enemy. Exhaustion was quickly catching up to you, although you tried to hide it. You couldn’t let Kaeya down. 

Over and over, the pair of you banged upon the force field with your swords, with more difficulty than any of the previous mages. This one was different, somewhat stronger. The grass surrounding the two of you was already lit up in flames, licking at your ankles. If you even so much as tripped, the heat would probably damage you more than a fireball could. 

“Watch out, rookie”, Kaeya yelled in your directions, trying to be heard above the cackling of the mage and the raging flames, already beginning to catch onto the trees nearby. The night was filled with a reddish glow--hellish and suffocating. “I think it’s about to activate it’s ultimate.”

The cackling grew louder, as you worked yourself into a frenzy, shooting more and more ice crystals, trying to break it’s force field. Three, dragon-like heads began to emerge around where the mage floated. Fuck. The fire-breathers were out. You had only ever fought a Pyro mage that could use fire-breathers once before--that also happened to be the instance that caused you to be an invalid for several months, healing from a deep flesh burn. But Kaeya was here this time. Things would be okay, right?

You could tell Kaeya was growing panicked as well, his swings becoming a bit more hurried and erratic. You didn’t know, but he was deathly worried about you. He had no idea how experienced you were with dodging the fire-breathers, and he knew he had to make quick work of the blasted mage before things could escalate, Archons forbid you get hurt. Kaeya activated his ultimate once more, and, finally, the mage’s shield broke. 

You heaved a sigh of relief, closing in on the Pyro mage. Kaeya’s strength and incredible reliability in battle did not fail to impress you, even beyond just the prowess he had demonstrated as a trainee and a mentor. You finally activated your own ultimate, summoning a boulder made of hard ice. Approaching the mage as you saw it struggle to get up off the ground, the ice in your boulder began to form, and you willed it to hurl towards the mage, intending to finish it off. Finally, you would show Kaeya your true strength, your capability. He could depend on you. Hell, you were his star student. Even if you were afraid to tell him about how he had stolen your heart, you could at least show him that the time and effort he had dedicated to you wasn’t for naught. 

The seconds slowed down, as the blinding white ice made its way through the air, aimed straight at the pathetic mage, groveling in the dirt. But beyond the ice, was something even brighter, not making its way to the mage; no, it was headed straight at you. A fireball. 

You felt an excruciating pain on your left side, right below your ribcage. A scream in the distance--the mage? No; it was Kaeya’s voice. The white-hot pain blinded you, as you felt your back make contact with the hard ground beneath you. Dammit. Dammit, dammit, dammit. Archons, what will Kaeya think? 

Vaguely willing your arm to press into your side to assess the damage, you felt warm, sticky liquid pooling on your waist. Lifting a hand, you saw it drenched in crimson blood, dark in the moonlight. You heard another scream again nearby, this time coming from the guttural squeaks you knew was the mage, the dying cries of a pitiful monster. At once, a pair of arms lifted you from the ground, supporting your head. What a damned disappointment you were. 

“[y/n]! [Y/N]! DAMMIT!” You had never heard Kaeya this worked up before. The pain of hearing the panic in his voice was also tinged with a selfish gladness that he cared, that Kaeya Alberich gave a damn if you died. Because, in that moment, you were certain you would die.

Straining out a chuckle, your chest racked up a wet cough, sticky blood now staining the edges of your lips. I’ll tell him when I’m dead, you once said. Well, isn’t this all quite ironic.

“Fucking hell, [y/n], I need you to keep your eyes open”, Kaeya commanded. He was using his captain voice, the one that only comes out when a new recruit wasn’t following orders. “Rookie, don’t you dare pass out on me.” His voice wavered.

Would it be worth it to tell him now? Did you want his last memory of you to be a pathetic, wishful fantasy spilling forth from your bloodstained lips, like the nonsense uttered by a mere child? Your vision spun faster, losing sight of Kaeya, hovering over you. You couldn’t make out his features too clearly in the darkness, but something about the wet drops of water landing on your cheeks told you that it wasnt more blood. You supposed that you should do yourself justice and at least keep the one promise you made that night in Mondstadt.

Straining to open your mouth, you uttered, “Kaeya, I—”

But before you could muster the strength to speak another word, your vision went dark.

*****

The first thing you heard when you woke up was the sound of birds chirping. The second was a silent snoring sound coming from somewhere to your right.

Cracking your weary eyes open, you sensed the faint light of the early morning coming in through an nearby window. Getting your bearings, you realized you had woken up in the Knights of Favonius headquarters hospital. Your damaged adventurer’s clothes were gone, and instead you could feel bandages dressed around the wound at your side. Oh, right. You thought you had died.

Trying to sit up, you fekt an excruciating pain burn through the side of your body that had been hit, setting your nerves on fire. You hissed, and the snoring beside you abruptly stopped.

“Archons, you’re awake.”

Kaeya sat up from the chair he had apparently been sleeping in, still dressed in his captain’s armor, just as dirt-covered and singed as when you last saw him. Was that only last night? You figured Kaeya must have hurried you back to the city before your condition could get any worse.

Fuck. As all your memories of the prior night came flooding back, your eyes pooled up with salty tears. Not only had you cone closest to death than you’ve ever had, you had completely disappointed Kaeya and made a fool of yourself in front of him.

“Kaeya, I’m so sorry—”, you started.

Your words were interrupted by the man next to you leaping into your embrace, arms wrapping your shoulders where you were not injured. “Dammit, [y/n]. When won’t you just shut up.” His voice was muffled by his face buried into your neck. “You don’t have to say a word.”

It scared you, seeing him vulnerable. The ever-cocky and cunning captain of the cavalry, the man who always had a plan and was never caught off-guard. Now, a man bearing his innermost emotions to you, little old you. Had he heard what you begun to tell him last night? Or were things going to return back to the way they were, you admiring his dazzling beauty from a distance, comfortable yet agonized at the degree of separation.

You hoped to the archons for the latter. You hoped that it wouldn’t take another instance where you almost lost your life for the love you felt for him to spill forth. Archons, even if you had to die, it would still all be worth it, if it were with him at your side.

Kaeya trembled as he pressed himself deeper into you, desperately clinging on. “Don’t you dare open your mouth, rookie”, he chided. “I don’t want to hear something you’ll only tell me when you’re almost gone. Please just let me do the talking.”

Pulling back, you looked at him in confusion. His hair was disheveled, eyepatch slightly askew, yet his face was full of an almost childlike wonder, akin to the gleam he possessed when you had first met him, however many years ago.

“Do you think I did it all for nothing?” Kaeya looked at you. “Do you think all those years of training together, eating together, soarring together, was all because I thought you had potential as a soldier? The private walks through Windrise, the nights spent at the tavern, the dance, that damned dance we shared—what did you think that was?” Desperate and exhausted, Kaeya’s eye began to shimmer with tears. “Fucking hell, [y/n]. I’ve always loved you. Since the very beginning, you idiot. Why else would I dedicate all my time, all my energy to you and only you?” He grasped your shoulders tighter. “If you think that I haven’t been madly in love with you since I first laid eyes upon you that day, then you’re fucking wrong.”

You cut him off, burying your hands into his hair—pain be damned—and kissed him. It was bitter and metallic, the taste of both of your blood on your tongue. Kaeya’s neck was ice cold, but his cracked lips were thick and warm, and when you pulled away from them, you suddenly felt like you could take on the world.

“Well”, you remarked. “I’m glad that we got that out of the way.”

a/n: uhuhuhu this is pretty long but i hope you like it! i wanted to improve my writing a bit and elaborate on descriptions a bit more, so i hope i did your request justice!

[thatfanficstuff]

Make Me Forget (Part 1) - Elijah Mikaelson

Pairing: Elijah x reader

Warnings: angst

A/N: Celebration Summer #8. There is a part 2 to this so don't fret. Prompt is Person A gets injured Person B is not happy.

wc: 1759

***

Elijah Mikaelson and his family had left Mystic Falls to move to New Orleans months ago. And they’d left you behind in the process. After he swore to you that you’d never have to be alone again, he’d left you with little more than a letter telling you it was for the best. Associating with his family was dangerous. He couldn’t put you in danger. It would be better if you forgot about him. All of them.

What a load of shit. Elijah had swept into your life and turned everything upside down. For the first time you were a priority to someone other than yourself. It didn’t take long for him to become the center of your universe. You moved into the house and became part of the family. Klaus and you would create art and bitch about the Scooby gang. Rebekah took you shopping. Kol would try to get you into trouble while you tried to keep him out of it. And you succeeded for the most part. You’d kept him from getting killed by Jeremy and Elena. Surely, that was enough to cement your place in the family.

But they’d still left you. And it had been Elijah’s doing according to the rest of them. You texted and called and they told you how much they hated leaving you behind but Elijah had put his foot down. Threatened to leave them all if they went against his wishes.

Rebekah did admit it was dangerous at the moment. A bit of trouble with a pregnant werewolf and some witches. She still insisted it would be better with you there. That they’d all protect you.

Klaus begged you to come to his rescue. Elijah and the werewolf would be the death of him, he swore.

Kol just missed his friend. He spent hours talking about all the things the two of you could do if you were there.

Elijah was silent. There hadn’t been one answered phone call or response to any of your texts.

Rebekah swore he missed you. That he was a miserable bastard without you.

Klaus and he had argued terribly when the hybrid threatened to fetch you from Mystic Falls and bring you home where you belonged. Elijah had yelled and destroyed half the room.

Kol said when there was a moment of peace, Elijah sat alone and stared at a picture of you. “I caught him crying, Y/N. It was horrible,” he told you, dramatically.

You didn’t necessarily believe any of them. After all, he found it so easy to leave you, why would he brood over your absence. But you missed your family. You were going to New Orleans. Even if Elijah was angry with you for going against his wishes, the rest of them would welcome you with open arms. You’d just have to stand your ground with the suited Original.

There were probably a thousand better ways to get to New Orleans, but you took a bus. It was cheap and you didn’t have to drive. And even better, it didn’t involve flying. You hated to fly. You stepped off the bus and adjusted your backpack on your shoulder. You’d decided to travel light. While you intended to stay forever, you weren’t sure everyone else would be on board with that. If you did stay, you knew Rebekah would be more than happy to take you shopping to replace your clothes. And Klaus would pay for them if Elijah didn’t. It used to bother you when they spent their money on you, but you’d long gotten over it.

After typing in the address on your phone, you started to follow the walking directions. You were actually quite close to your destination when you were yanked into an alley. Almost before you had a chance to process what had happened, teeth tore into your neck. Son of a bitch. You fumbled in your bag as the vampire drank deeply. Your fingers wrapped around your stake and you slammed it into the asshole attacking you. He hissed in pain and stumbled back giving you the chance to pull it out and stab him again with more precision.

He collapsed at your feet and you stepped over him as you pulled a rag from your bag. You pressed it against the wound and tried to look inconspicuous as you stumbled the rest of the way to your family. Your head spun as you reached the door and you knocked quickly.

The door flew open to reveal none other than Kol Mikaelson. He grinned at seeing you, but it faded immediately when he noticed the state you were in. He grabbed your bag in one hand and placed the other on your arm to lead you into the house. “What happened to you, Darling?”

You made a sound of annoyance. “Guess.”

“Don’t be cheeky.” He dropped your bag by the stairs and continued to steer you through the house. “Brothers, we have a visitor,” he said when the two of you reached a library. Nik and Elijah’s heads snapped in your direction.

Nik stood in front of you in a flash. “Bloody hell, love. Can’t stay out of trouble for five minutes, can you?” He pressed a kiss to the top of your head. “It’s good to see you at any rate. Come, Kol.” The hybrid strode from the room, dragging his protesting brother along with him.

A moment later, Elijah stood in front of you. Dark eyes stared at you as he lifted a hand to your neck. A muscle ticked in his jaw as he pulled the rag away to get a view of the damage. His hand clenched at his side and you flinched. He’d never hurt you, but it was rare to see him so angry. And you weren’t certain if he was angrier at the vampire that attacked you or you for being there.

His lips pursed as he stared at you a moment longer, then he bit into his wrist and offered it to you. You drank enough to heal then stepped back. He strode away to the far side of the room. Keeping his back to you, he hooked one hand around the back of his neck and rested the other on his hip. “What were you thinking coming here? Did I not make myself perfectly clear that you are not welcome here?”

“I missed you.” God, did that reasoning sound pathetic to you now. How had you ever thought that would be enough for him?

He was back in front of you in a flash. “You deliberately went against my wishes. You followed us here despite knowing I did not want you here and look what happened. Do I need to say anything else to prove my point that it is too dangerous for you to be near us?”

“This had nothing to do with you, Elijah. This was some random asshole vampire picking the wrong person to snack on. I killed him for it.” Frankly, you didn’t understand how he could go from being madly in love with you to not wanting you around overnight. “Everyone else wanted me to come. Didn’t you miss me at all?”

“How could I miss someone that cares nothing for their own wellbeing?” he stated quietly, making you flinch again. It would have been better for him to yell. At least then you’d know he was simply angry with you. His monotone delivery made you believe that he simply didn’t care. Tears instantly flooded your eyes. Why had you asked that question when you were so afraid of the answer? He stepped past you and stopped at the door. “You can stay the night. Tomorrow you leave New Orleans and you will not return,” he said in a low tone. Then he was gone.

You didn’t move as tears streamed down your face. Vaguely you were aware of Elijah and Nik yelling at each other elsewhere in the house, though you couldn’t make out the words. Then you were pulled into a firm chest as arms wrapped around you. “Elijah’s an idiot, darling,” Kol whispered to you.

When you just continued to cry without saying anything, he swept you up in his arms and carried you to one of the chairs. He sat and placed you on his lap. You leaned against his chest and he played with your hair in an attempt to calm you. “It will be all right, Y/N. You don’t have to leave if you don’t want to. You and I can get an apartment on the other side of town. We’ll put it in your name and you can tell Elijah to fuck off when he wants in.”

That pulled a laugh out of you though it sounded rather pathetic. “At least I know why it was so easy for him to leave now. I mean, what a bother I must have been. I always wondered what he saw in me and now I know. Nothing. God, you’d think it would be a relief to finally know, right? So why does it hurt so bad?”

“As angry as I am with my brother right now, Y/N, I don’t think—”

“No. It’s okay, Kol.” You sat up and wiped the tears from your cheeks. “You don’t have to lie to me anymore. Rebekah said him and the wolf seemed to be getting along. Maybe he’ll love her and it won’t be a lie.”

You stood and held up a hand to stop him when he moved to follow. “I’m not angry with you, Kol, but I need to figure out how to live without all of you. See, he told me he loved me and that he’d never leave me. That I’d never be alone again and he abandoned me at the first opportunity. And he took my family with him. And when I come back to all of you, he made it very clear that I am not wanted. I was prepared for him to be angry. I wasn’t prepared for him to not care.”

You paced the floor as you thought about your next step. Kol’s dark eyes followed you. He was at a loss at what to do, how to comfort you. He could beat the shit out of his brother but, while that might make him feel better, he doubted it would help you any. Suddenly, you snapped around to face him. “Compel me.”

His brows shot up. “What?”

“Compel me to forget. Just let me forget all of you.”

[misnomera]

On racial stereotyping of the Haans in TMA...

Right so as someone who is ethnically Chinese I have NO FUCKING clue how I didn’t notice this more distinctly in my initial binge of tma (going too fast and not paying closer attention to character names and descriptions, probably) but the Haan family storyline is, all horror elements aside, pretty fucked up in terms of racial representation re: stereotyping. This got long as hell, but please please please take a moment to read through if you’ve got time for it. thanks.

To start off, the Haans are one of the few characters in tma with an explicitly specified race and ethnicity—Chinese—and pretty much the only explicitly Chinese characters in tma, other than the mostly unimportant librarian (Zhang Xiaoling) from Beijing. But like, Haan isn’t even a properly Chinese surname, at least not in the way that it’s spelled in canon (it should be Han, one a. A quick google search tells me that Haan as a surname has...Dutch origins??).

Of course, that could be chalked up to shoddy anglicization processes within family histories, which certainly isn’t uncommon with immigrant families, so I’m not going to dwell on names too much (although I also find it interesting that John Haan’s name is so specifically and weirdly anglicized that he changed his own surname?? Hun Yung to John Haan is a very big leap of a name change and frankly not very believable. ANYWAY, this is not that important. I don’t expect Jonny, a white Englishman, to come up with perfectly unquestionable non-Cho-Chang-like Chinese names, though it certainly would be nice. Moving on).

What really bothers me about the Haans is how they almost exclusively and explicitly play into negative Chinese immigrant stereotypes. I don’t even feel like I need to say it because it’s like...it’s literally Right There, folks. John Haan (in ep 72) owns and operates a sketchy takeout restaurant. They’re all avatars of the Flesh—and John Haan is Specifically horrific and terrifying because he cooked his wife’s human meat and fed it to his unknowing customers. Does that remind you of any stereotypes which accuse Chinese people of consuming societally unacceptable and ethically questionable things like dog/cat/bat meat (which, if it’s not already crystal fucking clear, we don’t. do that.), which in turn characterize us as horrible unfeeling monsters? John Haan’s characterization feeds (haha, badum tss) directly into this harmful stereotype that have caused very real pain for Chinese people and East Asians in general. 

And Jonny does nothing to address that from within his writing (and not out of it either). And, speaking on a more meta level, Jonny could’ve easily had these flesh avatars be individuals of any race (like, what’s Jared Hopworth’s ethnicity? Do we know? No? Well then). Conversely, he could’ve easily, easily had a Chinese person be an avatar of any other entity. So why did he have to chose specifically the Flesh?

(This is a rhetorical question. You know why. Racial stereotyping and invoking a fear of the other in an attempt to enhance horror, babey~)

On Tom Haan’s side, Jonny seems weirdly intent on having other characters repeatedly comment on his accent (or rather, lack thereof) in relation to his race. Think about how, in ep 30 (killing floor), the fact that Tom Haan had spoken a line to the statement giver in “perfect English” was an emphasized beat in that statement, and a beat that was supposed to be “chilling” and meant to signify to us that something was, quote-unquote, “not right” with Tom Haan. Implicitly, that’s saying that it was unexpected, not “normal”, and in this case even eerie, for someone who looks Chinese to have spoken in fluid, unbroken English. Mind you, the line itself was perfectly scary on its own (“you cannot stop the slaughter by closing the door”), so why did Jonny feel the need to note the accent in which it was spoken in? Why did Jonny HAVE to have that statement giver note, that he initially “wasn’t even sure how much English [Haan] spoke”? 

This happens again in episode 72 with a Chinese man (and again, his ethnicity is Explicitly Noted) who we assume is also Tom Haan. This one is rather ironically funny and kind of painfully self aware, because the statement giver expresses surprise at Haan’s “crisp RP accent” and then immediately “felt bad about making the assumption that he couldn’t speak English,” and subsequently admitted that thought was “low-key racist.” Like, from a writing perspective, this entire passage is roundabout, pointless, and says absolutely nothing helpful to enhance the horror genre experience for listeners (instead it just sounded like some sort of half-assed excuse so Jonny or other listeners could say “look! We’ve addressed the racism!” You didn’t. It just made me vaguely uncomfortable). And again, having other people comment on our accents/lack thereof while assuming we are foreign is a Very Real microaggression that east asians face on the daily. If Jonny needed some filler sentences for pacing he could’ve written about Literally anything else. So why point out, yet again, that the crazy murderous man was foreign and Chinese? 

At this point, you might say, right, but yknow, it was just that the statement givers were kind of racist! It happens! Yeah sure, ok, that’s a passable in-universe explanation for descriptions of Tom Haan (though not John Haan, mind you), but the statement givers are fake made up people, and statement’s still written by Jonny, who absolutely has all the power to write overt discrimination out of his stories. And he does! Think about just how many minor (and major!!) characters are so, so carefully written as completely aracial, and do not have their ethnicity implicated at all in whatever horrors they may or may not be committing. Think about how many lgbtq+ characters have given statements, and have been in statements, without having faced direct forms of discrimination, or portrayed as embodying blatant stereotypes in their stories (though lgbtq+ rep in tma certainly has their own issues that I won’t go into here). Jonny can clearly write characters this way, and he can do it well. So why, why, am I being constantly, repeatedly reminded in-text of the fact that the Haans are East Asian, that they’re from China, that they’re Chinese immigrants, that they’re second-generation British Chinese or whatever the fuck, and that they’re also horrifying conduits for blood, gore, and general fucked-up-ness? It’s absolutely not something that is Needed for the stories to be an effective piece of horror; the only thing it does is perpetuate incredibly harmful and hurtful stereotypes.

And listen, I love tma to bits. It’s taken over my blog. I’ve really loved my interactions with the fandom. And I am consistently blown away by Jonny’s writing and how well he’s able to weave foreshadowing and plot into an incredibly complex collection of stories. But I absolutely Cannot stop thinking about the Haans because it’s just. It’s such a blatant display of racial stereotyping in writing. And I’ve certainly seen a few voices talking about it here and there, and I don’t know if I’m just not looking in the right places, but it certainly feels like something that is just straight up not on the radar for a lot of tma fans. And I’m disappointed about that. 

Just, I don’t know. Take a look at those episodes again and do some of your own thinking about why these characters had to be specifically Chinese (answer: they didn’t.). And in general, PLEASE for the love of god turn a critical eye on character portrayals and descriptions whenever they are assigned specific races/ethnicities (Some examples that come to mind are Jude Perry, Annabelle Cane, and Diego Molina), because similar issues, to an extent, extend beyond the Haans, though I haven’t covered them here. 

You shouldn’t need a POC to do point out these problems for you when they’re so glaringly There. But for those of you who really didn’t know, hope this was informative in some way. I’m tired, man. If some of the only significant Chinese characters you write are violent cannibalistic men with a perverted relationship with meat, just don’t do it. Please don’t do it. 

EDIT: Since the making of this post Jonny has acknowledged and apologized for these portrayals on his twitter and in the Rusty Quill Operations Update, which went up September 2020. A long time coming, but better late than never. This of course doesn’t necessarily negate the harm done by Jonny’s writing, and doesn’t make me much less angry about it, but is appreciated nonetheless. For more on this topic there’s a lot of productive discussions happening in my “#tma crit” tag and in the notes of this post

[miserablesme]

The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

[shihalyfie]

The Kaiser wasn’t very good at being a villain (and that’s the point, actually)

Ken’s journey of redemption is generally well-documented overall, and it was explicit enough in the series that there’s only so much you really need to explain it, but due to the blurred boundary of what was supernatural influence from the Dark Seed and what was Ken’s own emotional problems wreaking havoc, it’s somewhat more difficult to bridge that gap between the Kaiser and Ken, and how they can be the same person.

The easiest way to understand it comes from both directions. One is that Ken, even in his normal element, is much more assertive than he’s often given credit for -- it’s just that the Kaiser is a (fragile) manifestation of that very carefully cultivated to channel that in all of the wrong directions. The other has to do with the fact that the Kaiser is actually really terrible at being a villain, and the persona itself is very fragile and difficult for him to maintain.

Rewatching the first half of 02 shows multiple indications that, for all he seemed to be the stereotype “evil genius”, Ken was forcing himself into the mold. He was never cut out for it from day one. Even from the beginning, Ken’s actual nature as a lonely and inherently kind eleven-year-old child was tearing apart at the Kaiser persona, and the fateful episode 21 was not so much a single turning point for him as much as it was the last straw in a series of things tumbling down for him.

Before we continue: While all of the meta on this blog is only possible thanks to support and input from a handful of friends (whose names will not be disclosed on account of privacy requests), this one in particular arose from a long and extensive discussion with said friends that I am extremely grateful for. As always, I hope I was able to convey your points well.

Well, firstly, it’s important to understand that, much like nearly any other character in this series, Ken’s surface demeanor is a bit deceptive. The Crest of Kindness has the original Japanese name of yasashisa (優しさ), which has a secondary meaning of “gentleness” (lost in translation, but still apparent with the bubble metaphor in 02 episode 23). That also ties into the secondary meaning of “kind” -- it’s not just about being naturally “soft”, but actively choosing to be gentle with others even when you’re theoretically capable of not doing so. (For those of you who have seen Appmon, the entire point of that series was about what it means to consciously and deliberately choose to be kind, and, in fact, quite a few parallels could be made between Ken and Haru...)

The contrast between Daisuke and Ken goes far beyond just the surface. Daisuke’s surface demeanor is abrasive, but he’s not actually very good at being assertive until push comes to shove, and he otherwise tends to bend easily to others or get overwhelmed; in contrast, Ken has a more polite demeanor and for the most part seems non-confrontational, but has much stronger control of his emotions and is more easily able to be assertive than Daisuke is. (Of course, both of them share the common point of being like-minded when it’s something that really matters, but Ken is much better at imposing his will and getting what he wants done before Daisuke ever gets to that point, which is what fuels the whole punchline of Daisuke and Ken’s Shopping Carol.)

So, the point is: Daisuke is kind out of instinct and just “naturally” being so, but Ken is kind because he consciously believes in treating others well and not causing conflict, and not causing pain to others.

That’s not to say that Ken’s behavior is out of suppression or anything! It’s not a case like Takeru, who’s trying to push complicated emotions down while pretending they’re not boiling under the surface, nor is he like Hikari, who’s compulsively pressing her emotions down out of a desire not to burden others. Rather, even as early as 02 episode 26, he’s very straightforward about what his issue is and what he thinks about it. Ken’s “shyness” during the latter half of 02 is largely due to shame and hesitation from not knowing the other 02 kids well, but as the series goes on and as we go into post-02 material, he indicates that he’s perfectly wiling to be vocal about what he thinks without necessarily fighting any compulsion to suppress it. For someone who claims he doesn’t know much about his own heart, he arguably seems to have the best grip on understanding himself compared to a lot of this cast!

So in essence, the main take-home here is that Ken is theoretically capable of being strong-willed and assertive, and is very good at choosing when he wants to be assertive and when he wants to hold back. And he likes seeing people get along, and he wants everyone to be happy, and he doesn’t like seeing people be hurt or hurting others, and under normal circumstances, Ken has very good control of his emotions for the most part and quite a lot of self-awareness. That’s why Ken is the one to get the unique designation of this Crest; everyone in this cast can be said to be generous and supportive of others in some form, but there’s a difference between being a “natural” doormat who defers to others by default (Daisuke being a very good indicator of how this kind of mentality has a flip side of lack of self-esteem and high insecurity, and Tamers’s Takato being a good indication of how “being deferential” doesn’t necessarily preclude you from having tendencies towards selfishness or cowardice), versus choosing to be kind by understanding everything and still being gentle out of a belief that it’s the right thing to do (again: see Shinkai Haru). And it’s why Wormmon says in the 02 episode 23 flashback that Ken’s kindness can be used against him; being “kind” in this way requires a lot of mental fortitude, strength, and guts, all of which are things that could easily be very bad things when applied in the wrong direction.

This means that all the Dark Seed really needed to do in order to turn him into the Kaiser...was make him lose grip on that self-control.

Actually, Ken says it himself in less-than-subtle words in Spring 2003:

…It was revenge. But who was this revenge against? Did I want to triumph over the ones who made fun of me? The ones who looked down on me and used me? But… In the end, it was revenge against myself. I couldn’t do anything but deny the kind of human being that I was.

So in other words, the Kaiser persona was, effectively, a self-loathing eleven-year-old boy throwing a massive tantrum. A lot of the Kaiser’s actions in the first half of 02 are honestly rather petty -- he’s basically upset at the kids spoiling his holiday in 02 episode 6, he attempts torturing Daisuke out of a petty grudge over a soccer sliding tackle in 02 episode 8, and everything to do with expanding his territory and eventually (hopefully?) becoming ruler of the Digital World is frankly very sloppy. For all he’s said to be a genius, his genius only seems to extend to book smarts, and his “tactical planning abilities” never really expand beyond that of a soccer field sort of affair; his way of locking down control on other things is basically just “brainwash it harder” or “whip it harder” and applying harder brute force instead of doing something in the long-term like, say, trying to rule with charisma and recruiting allies.

(Again, bringing Appmon back into this, seeing Cloud in action will give you a much better example of a charismatic human villain who’s actually competent at his job. Or, heck, you can even look back at Savers’s Kurata, who at least was savvy enough to pull strings with people in powerful positions. Or even the Kaiser’s predecessor Saiba Neo from V-Tamer, who may have been openly sadistic but still had the sense to align himself with background power. Really, compared to all of these folks, the Kaiser is downright pathetic.)

Remembering that Ken fell into the Kaiser persona partially as a desperate attempt to become a “perfect person” like Osamu, Ken “imitated” Osamu’s cruelty to him because he felt that was how he could improve himself to become a “strong” person better than him. But the irony here is that Osamu’s “cruelty” was something that he himself never liked, and mainly came from lashing out at Ken due to feeling like he had a lack of control over his own life. So Osamu was never happy in that position, and Ken, who is indirectly pointed out via the bubble metaphor to be even more fundamentally inclined towards gentleness, is probably even more miserable.

Because everything Ken does as the Kaiser is “unfocused lashing out at everyone”, the Kaiser has less control over his emotions than Ken normally would. Takeru manages to emotionally pin him to a corner by confronting him with enough assertion in 02 episode 19 (this is before he punches him), and correctly points out that the Kaiser isn’t capable of winning with words (i.e. ideologically) and resorts to violence as the first thing he can think of. You’d think that if the Kaiser were actually someone with the self-confidence to consider the other Chosen Children beneath him, he wouldn’t even bother giving them the time of day, but Takeru just happening to be a little assertive is enough to make him lose his composure and start falling apart, and a lot of his shaken “insects!” yelling comes from him seeming pretty desperate to cling onto that rather than being all that confident about his natural superiority over anyone. 02 episode 20 establishes that he’s getting himself in over his head by tampering with the powers of darkness he can’t control, and while, on a plot level, it means that he’s misjudged his own capabilities, on a metaphorical level, it corresponds to the fact that even Ken himself is incapable of getting himself out of the emotional abyss he’s in.

And on the flip side, one of the biggest “tells” that Ken is still miserable during all of this is 02 episode 9, where he’s seen ruminating on the “glory” he’s getting in the real world despite having just decided to leave it all behind. The episode prior, after all, had been called “The Digimon Kaiser’s Loneliness”. The media is using him like some kind of “hot topic”, his parents’ affection (in his mind) is shallow and based only on his achievements, and he has no friends (how much of a role Akiyama Ryou played in his childhood is unclear, but either way, he’s no longer around now). With no emotional support coming from any direction in the real world, he’s resorting to at least trying to have some “fun” in what he perceives to be a “game”, and yet he’s still not having fun at all.

If you look carefully at a lot of the Kaiser’s actions during the first half of the series, one thing you’ll notice is that there are multiple indications that he’s not quite up to par to being as sadistic as you’d think he’d be. Recalling that we learn in 02 episodes 20-21 that the Kaiser is under the impression that the Digital World is like a game that he can “reset” and the Digimon in it not real living beings, it has interesting implications of the fact that he’s actually very hesitant to physically harm other human beings -- he certainly likes emotionally toying with them, but even when he’s trying to take petty revenge on Daisuke in 02 episode 8, he goes out of his way to set up a trap with Bakemon to torture him rather than, well, actually using the kids as hostages. That’s a hell of a lot of work to do, but he instead uses this extremely roundabout way to get them out of the picture in a somewhat less harmful way, risking having them escape (which is exactly what happens).

And in 02 episode 19, when Takeru confronts him and he ends up whipping him, you can hear a slight “...gh?” in the Japanese audio for a split second right after that, meaning that the Kaiser is, for some reason, having a hard time dealing with the fact that he just hit Takeru, and he does a very poor job defending himself against Takeru punching him out despite ostensibly being trained in judo. (Seriously, if you watch the animation of the scene, he’s just lying there while Takeru repeatedly punches the hell out of him, because he’s so out of it.) Regarding the Digimon, he’s convinced himself that they’re not living beings, but regarding the human Chosen Children, who undeniably are, no matter how much he might look down on them, he has a suspiciously hard time harming them as much as he could...

On top of that, one interesting question that might come up to one rewatching the first half of 02 is the strange “contradiction” of why the Kaiser ostensibly seems to hate Wormmon so much, calling him an unworthy idea of a partner in 02 episodes 10 and 19, and yet does remarkably little to get Wormmon away from him or off his case (he hates Wormmon calling him “Ken-chan”, yet doesn’t really try very hard to stop him). He could have easily locked Wormmon away in a cage or something if he really wanted to -- actually, there’s the question, why doesn’t he slap an Evil Ring on him? Because in the end, Wormmon is the only emotional support he’s really getting, and so it’s likely he unconsciously doesn’t want to lose that. Recalling that Digimon are fundamentally linked to the inner self, the Kaiser rejecting Wormmon for being “weak” is analogous to Ken rejecting his own self for being “weak” and “not perfect” -- which means that the fact he still keeps Wormmon around is analogous to the fact that Ken hasn’t really been able to bring himself to completely let his fundamental nature go. And, hence, it’s why he gets so initially incensed at Wormmon’s “betrayal” at 02 episode 10 (and yet still keeps him around despite that), and is ultimately emotionally destroyed by his death in 02 episode 21.

Although, actually, if you look carefully at 02 episode 21, it’s not quite Wormmon’s death that necessarily does it -- the turning point where he sheds the Kaiser persona is right before that (and in case you have any doubts, the animation puts highlights in his eyes for the first time in the series right at that point). Wormmon’s death is the first major consequence of his actions that he has to deal with, but what actually brought Ken back to his senses was his own realization that Digimon are living beings, that his actions have had permanent effects this whole time, and that he can’t take back anything he’d done.

Remember that 02 is a series that is largely about moving on and accepting that you can’t change the past, and that you have to move forward regardless of that. Ken’s fall into sadism was only possible by driving him into extremely deep-seated denial -- he was already starting to face the potential reality of Digimon being real, existing beings in the real world an episode prior. He says, outright, in 02 episode 21, that part of the reason he came to the Digital World to do all of this was escapism -- and, presumably, under the idea that any mistake he made could be rolled back and redone, unlike Osamu’s death. But the Digital World is not a place you can reset like a game, Ken will have to live with the consequences of his actions again, and moreover, every single one of the actions he’d been convincing himself were relatively meaningless had caused severe and permanent harm, and the entire thing overwhelms him.

It’s also important to point out that this was probably where the Dark Seed had to work a lot of magic to get Ken to embrace this kind of denial so easily -- after all, it’s established in the final quarter of the series that it does have a tangible impact on personality and puts a damper on one’s ability to feel empathy. In the flashback in 02 episode 23, regardless of whether Ken considered the Digital World to be a “game” or “able to be reversed” or not, he clearly still didn’t care and treated those around him with proper kindness (even if he did consider it to be all of that, it probably wouldn’t have been entirely unlike how a lot of us have a hard time picking rude choices in video games). It’s a very complicated chain reaction of events that allowed this to be even possible, and it was so against his fundamental nature that once the denial broke and Ken reached his limit, he wasn’t able to do it anymore. The Chosen Children’s main role in 02 episode 21 was really just cleaning up the massive mess he’d made in the form of Chimeramon, but as far as the whole thing about the Kaiser’s persona completely falling apart and Ken being forced to confront his own self goes, that was pretty much all Ken and Wormmon, in a series of dominoes that had already been collapsing for episodes on end.

The following episodes have Ken treat the 02 team with a certain amount of detachment, and this is often construed by a handful of people as being reflective of Ken being standoffish of some sort. The fact that Daisuke and Ken are often promoted in franchise materials as “rivals” mainly due to them being in the “protagonist and right-hand-man” position such characters are in might tempt you to think that way, but they are most definitely not!! (Considering that even saying that Taichi and Yamato fit that mold is a bit questionable, and neither Ruki nor Jian quite fulfill the expectations of the role in regards to the genre-subverting Tamers, Frontier, which is explicitly said to be deliberately written to be conventional, is probably the first proper execution of this trope in the form of Takuya and Kouji.) Ken’s detachment from the group at this time in the series is something he actually gives the reason for quite directly: he believes it’s his fault and doesn’t want to burden them with what he considers to be his job, and in the end Daisuke ultimately breaks through to him and they become completely normal friends who get along. “Rival” what?

Ken is, at worst, distant during this point of the series, but he’s actually very straightforward about what he wants and intends to do; it’s just that he’s being a bit blunt about it because he’s still drowning in his shame and not sure how to approach them. (Also, consider the fact he was rather lacking in friends or a support group before all of this; he doesn’t have a lot of experience in socializing, either.) So he keeps everyone at arm’s length, and the reason he comes off as so standoffish is because he’s so assertive! He directly and bluntly makes some very strong remarks about how he believes everyone else shouldn’t be getting involved! Again, when left to his own devices and not being manipulated into by a supernatural evil seed into multiple levels of denial, Ken is very in control of what he wants and thinks, and is even very open about speaking his mind.

That’s even when they’re not good decisions, mind you. Ken starts off the climax of 02 episode 26 being very firm about wanting to suicidally throw himself into the reactor in order to stop it, and 02 episode 30 has him consider himself a burden to the team after the fallout with Iori and try to stay out of it despite them very badly needing his presence, which Daisuke (of all people!) rightfully calls him out for being childish about. But he also listens to reason very quickly and acknowledges the others’ point very easily, with Daisuke reminding him in 02 episode 26 that his suicidal recklessness is actually pretty self-centered and short-sighted of him, since it’ll prevent him from doing anything else to take responsibility for his actions going forward, and Miyako, uh, slapping him in 02 episode 30. (But he comes quietly right away as if acknowledging his own idiocy, and never holds it against her thereafter.)

Nevertheless, the point is: you can see that this kind of assertiveness is the same kind of assertiveness he had as the Kaiser, just channeled in a different direction and for a different purpose. But as the Kaiser, he was angrily lashing out at anything and everything and stepping on anything he could just so he could have a show of power; once he comes back to his senses, he reserves that force for it being something he consciously believes is the right thing to do (regardless of whether it’s actually the right thing to do or not).

Because of the fact Ken spends a lot of the last quarter of 02 suffering and parsing a lot of trauma, a lot of people have tended to pin him as constantly sad and being a soft crybaby, but that couldn’t be further from the truth! Despite all the emotional pain he goes through, Ken has a hell of a ton of strength through all of this -- he even flings a well-aimed quip at Oikawa in 02 episode 44 despite being in a completely helpless situation, and in 02 episode 45 he himself is the one who volunteers to open the gate to the Dark Ocean, despite knowing exactly what it entails. That takes a lot of guts, and all things considered, his recovery from being the Kaiser spans only four months and is altogether incredibly fast given what he went through -- it did not take long for him to regain his bearings and get himself back on track. Again, it’s the same kind of “assertiveness” and capacity for action that fuels what the Kaiser did, just better controlled and in a direction Ken knows he actually wants.

This is also why I tend to object to insinuations that Ken would be overly touchy about or traumatized by the mere discussion of him being the Kaiser in the aftermath of 02, because the series itself, multiple times, portrayed him as being very able to talk about his experiences bluntly and honestly, at worst maybe considering it a bit of an awkward topic. He has no problems admitting that it was a thing that happened, especially if it involves discussing it as part of taking responsibility or preventing further damage -- it’s just that he of course doesn’t enjoy it either, and is equally as open about the shame he feels as a result. All of the times Ken loses his composure in the latter half of 02 involve either physical pain being inflicted on him, or a lot more actively vicious invocation of his memories and insecurities, and even then he gets himself back on his feet with a rather prompt amount of speed. Poorly timed of a statement as it may have been, Miyako is not incorrect when she says in 02 episode 31 that he has a certain amount of natural resilience that he carried from being the Kaiser.

All the way back in 02 episode 9, shortly after it was revealed to the group that Ken was the Kaiser, Iori, Hikari, and Takeru all label Ken as someone who doesn’t look like someone who could do something so horrible, and Hikari even says that his smile looks “gentle” (note that this is yasashisou, a word derived from the same root word used for his Crest). So in other words, even all three of them were able to catch on to his actual nature betraying himself even during that awful period of time. It’s still poking through, all things considered.

But we as the audience know he’s putting on that face for the camera, and his eyes are still as dead-eyed as they are for the first half of the series, and when Miyako accidentally makes him laugh during the Christmas party in 02 episode 38, it’s very much framed as probably the first time Ken has been this genuinely happy in a long while. He was never able to be this happy even when “satisfying” himself by stepping on others as the Kaiser.

And that’s why it’s so extremely unlikely that Ken will ever be able to lapse back into the Kaiser persona after the events of 02, even with the Dark Seed technically still inside his neck. He wasn’t enjoying it anyway; the Kaiser persona wasn’t a habit that he fell into out of emotional suppression or even catharsis, but rather him forcing himself into a role he was never comfortable in to begin with. He was never truly satisfied with anything he was getting out of it, and moreover, it took the combination of supernatural influence and a hell of a lot of denial to allow it to get that far in the first place, because of how far against his fundamental nature that was.  (Again, for those of you who have seen Appmon: think about what it would take to get Haru to embrace sadism.) Even Osamu wasn’t enjoying being cold; being kind and living your life with positivity is a lot more fulfilling and fun, anyway.

In 02 episode 48, Ken describes the influence of the Seed as “horrible” in retrospect; even if it didn’t involve physical pain and exhaustion the way it did for the Dark Seed children, the entire experience sucked even back then. And while Ken theorizes about the Dark Seed’s influence being countered by the power of love earlier in the episode, when you look at the whole of 02, it’s not just his family’s love -- Ken now has the emotional support of his family, and Wormmon, and his newfound friends, and that’s giving him all of the fulfillment he wanted that putting on a front of sadism wasn’t giving him, and he doesn’t really need anything else anymore.

02 itself is very much about the fact that it’s not a bad thing to rely on the support of others to be happy; the Ken and Kaiser are undoubtedly the same person, but the latter’s existence requires a very specific lineup of events and factors to happen, and one of the massive parts behind that was a severe lack of emotional support or anyone who properly understood him. And by the end of the series, Ken has more than enough strength of heart to accept everything that’s happened and move on, and to stop reaching out to denial and clinging onto the past, and he has emotional support and understanding from a whole new group of friends that thoroughly understand everything he did and went through, and wholeheartedly accept and love him anyway.

He is never going to have a gaping hole in his life like that again.

[shinygoldstar]

Midnight Snack

DannyMay Day 11: Midnight

(Also DannyMay Shadow, Scars, Power, Nature, Seasons, Teeth can you find them all?)

Word Count: 2271 (not beta’d. experimental writing)

Warning: mentions of ghost cannibalism, nothing explicit

@floralflowerpower ​ – for that ghost cannibalism post

(it’s 1 am so i’m gonna sleep now. might post on AO3 later)

Edit: AO3 Added!

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It was mid-October. The leaves are starting to turn yellow heralding the approaching autumn. Danny was happy because that meant the unusually hot weather is almost over. It wasn’t that he’s melting from the heat- quite the opposite, he’s probably the only person in Amity that isn’t sweltering under the sun with his cold core. But due to this exact same reason, his cooler body temperature also drew in water vapor which condenses on his skin, pooling into beads of water dripping down his shirt, making him appear extra sweaty. He can’t wait for the temperature to be cool enough to not change clothes every few hours. Good thing his clothes are purchased by the dozen; no one really noticed him wearing new sets of clothes throughout the day.

.

It was the contaminated fridge foods that disappeared first. No one missed them. At least until they can’t find the mutated turkeys for their annual Thanksgiving hunting event.

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Danny yawned as he and his friends entered Fenton Works. Autumn is comfy. Just the right temperature where he can wear loose clothing and not be stared at for being underdressed for the weather. No ‘sweating’ either. His mouth closed with a click, a bit too fast on his new fangs. Danny winced. The fangs seemed to have grown longer overnight again. At this rate Danny won’t be able to pass them off as normal pointy canine teeth for much longer. It didn’t hurt but the itch is annoying. Danny took a detour to the fridge, grabbing an ice cube from the freezer and popped it into his mouth, absentmindedly chewing on the cubes to take the edge off the itch as they walked down to the basement lab. His parents are at a paranormal convention at a nearby city and won’t be back until tomorrow. Danny and his friends gladly took the opportunity to do their ‘Danny’s quarterly fitness test’.

Danny flipped on the light switch and walked to the center of the lab, transforming into his ghost form. “Okay I’m ready. What’s first on the list?”

Tucker dropped his bag and took out a piece of notebook paper, “Okay, first we gotta do the baseline measurements. Height, weight, temperature, and the ecto reading.” Sam dug through her sports bag, pulling out the measurement tape. She held it against Danny, eyes scanning the tape measurement numbers. “Still the same height.”

Tucker nodded, noting down the measurement in Danny’s health notebook. “Next, weight.” Danny stood over the scale. “Yup, still the same weight too.”  

.

Then it was the ecto-samples that Jack misplaced in the kitchen fridge. Jack warned everyone a few days later (everyone knows to avoid glowing food on normal basis so the delayed warning is mostly just courtesy), but no one could find where it went and assumed it grew legs to join the other tiny ecto-samples lurking as their equivalent of household pests. (No matter how often Maddie tried to patch up the mouse hole it keeps reappearing in the same shape but in a different part of the house as if the original mouse hole got transplanted from its original location)

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“Lunch Lady’s right. You need to eat more. You’re still as skinny as ever.” Sam remarked as Danny took the thermometer out of his mouth. “76 F. The ghosts keep attacking me all day and night. You’d think my parents would notice when a ghost sneaks pass them while they work in the lab but I triggered all their ghost alarms just by being in the house so they deactivated the system when I’m around. They must’ve kept it turned off during the day too.”

“Tough luck dude. Ecto scan next.” Tucker passed the scanner to Sam while Danny stood still for her to scan. The machine beeped, “Wow 6.8, that’s quite a jump from last quarter’s 5.1”

“Maybe it was from all the ghost fighting I did over the summer?”

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As the leaves began to fall from the branches, ghost attacks lessened in frequency. Not looking the gift horse in the mouth Danny happily enjoyed the lack of ghost attacks to focus more on his studies. If he did well enough, he might even get Bs for his efforts. He also managed to avoid getting detention for the entire week much to the relief of everyone involved.

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Two days before Thanksgiving, the Fentons finally remembered their turkeys. But by then it was gone. In a rush, they quickly purchased a pre-made turkey instead. While Danny enjoyed the fact that they’re having a normal family dinner for once, he can’t help but feel like there’s something off about the chicken. As if it’s missing a particular tangy or zingy flavor that would’ve made it richer in flavor. ‘Must’ve been because it’s overcooked.’

.

"Honey? Have you seen the new ecto-samples I placed in the basement lab fridge?" “Again Jack? This is the third time this month. Have you checked the upstairs fridge?” “I-ah was pretty sure I placed them in the correct fridge this time. Must be some no-good thievin’ ghost.” “I’ll set up the ecto-anti-theft, that’ll get ‘em good! No ghost can escape Jack Fenton for long!”

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*Intruder Alert* *Intruder Alert*

Red lights peppered with robotic voice and alarm noises lurched Maddie into full alert mode. She quickly took stock of her surroundings and tried to wake Jack up. But Jack had his earplugs on and continued to snore blissfully. A loud knock on the door caught her attention. “What’s going on mom?” Jazz’s voice floated through the door. Maddie quickly rose to open the bedroom door, swiftly pulled Jazz in and locked the door. “Jazz dear, try to wake your dad up. I’ll go check on the intruder.” Maddie strode quietly to the door then paused, “Have you checked on Danny?” Jazz bit her lips and looked away for a moment “-ah yeah! Danny’s snoring so loud he can’t hear the alarm.” Maddie twisted the doorknob but paused, hesitating. “He’s fine mom.” Jazz reassures her. “If Danny wakes up, he’ll come here first. I’ll let him know what’s going on.”

The alarm rang loudly in her ears as she walked down the stairs to the basement lab, its loud ringing noise effectively covering up the sound of her footsteps. Reaching the basement floor, Maddie quickly crept over to hide behind the shelf on her left, eyes scanning the lab for the intruder.

The glass jars clinked as a shadow moved about the fridge. A very familiar shadow. That didn’t glow. Maddie turned on the lab lights. “Danny?” she started, carefully walking over to face him, her eyes still scanning him to check if he’s really her Danny. The faint, barely noticeable scar on his eyebrow from his attempt to fly off the tree when he was five is there confirming his identity.

“What are you doing down here-?” Maddie noticed the glowing jar in his hand, “and what exactly are you doing?” Danny hazily stared at her; eyes half-lidded. Maddie snapped her fingers to get his attention. Danny didn’t blink. “He's still not awake, Danny come on wake up!”, she shook his shoulders. “Huh? Wuzzat?” Danny groggily woke up. He blinked in confusion.

Finally aware of his surroundings, Danny looked down at his right hand that still held the glowing sample. “Aah!” Danny yelped dropping the sample, then realizing he dropped the sample, tries to catch the jar, fumbling clumsily. Maddie would’ve laughed if it was anywhere else but in this situation. “Danny, do you remember what you were doing?”

“I was doing my homework and was craving for a good cheeseburger?”

---

“And the half-opened jar of ectoplasm?”

“Pickles?”

---

“Dude are you for real? That was priceless!” Tucker crowed with laughter. Sam leaned away from Tucker to avoid the meat spittle, “Urgh! Gross Tucker! Swallow it before you speak!”

Danny grumbled into his glass of milkshake, “’s not funny Tuck. you didn't see her face. She was about ready to scan me for signs of ecto-possession. Good thing my lie about craving cheeseburger and opening the wrong fridge worked. Otherwise I’d be in big trouble if she scanned me now with my latest ecto-reading. Anyways I'm banned from the lab now.” Danny bit into his burger.

“So what really happened there dude? Did you seriously sleepwalk into the basement lab?”

“I think so? I don’t really remember anything before Mom found me in the lab. Only that I was feeling a bit hungry.”

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The ghosts stopped coming. Everyone in Amity held their breath when there were no ghost attacks for two weeks straight, then a month. Then two months, three. No ghosts. They let out their collective breath. It might be too soon to hope but for now they will enjoy their ghost-free, perfectly ordinary life. It feels a bit strange to not have ghost related interruptions as part of their daily routine but they didn’t miss the ghost-related reconstruction expenses. The local insurance company employees received a nice bonus for the ghost-free month.

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By the time March rolled in, Danny is restless. “Guys, there's definitely something big going on.”, he waved his hands for emphasis. “The Fenton portal is still open yet no ghost came through? Not even Boxy since the North District warehouse thing last month. There’s definitely something big going on. I've been taking the ghost-free break for granted for a while now and it helped save my grades but this is too big to ignore.”

“Dude, maybe it’s because you’re much more powerful now? Your latest reading last week is 8.2. None of the ghosts we’ve met so far is above 6 except for Vlad and the Ghost King.” Tucker suggested.

“You might have a point there, Tucker. We haven’t seen any of the ghosts bothering Vlad so far and he’s definitely higher than 6.” Sam added.

Danny frowned, “Maybe you’re right but I just have this nagging feeling that that’s not quite it.”

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Danny entered the Zone with little fanfare. The area around the Fenton portal looked normal enough, the usual rocks and clouds of debris are still floating around in their usual areas. Danny aimlessly passed through the nooks and crannies, ducking under the endless spiral staircase, not entirely sure of what to look for. The Zone felt a bit quiet today but Danny haven’t been to the Zone that frequently to be certain about it.

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The Ghost Zone, while still filled with random bits of odds and ends felt empty somehow. It wasn't until he sighted Skulker that he realized he hasn't seen any of the tiny blog ghosts nor the occasional passerby ghosts through his trip.

.

Luckily or unluckily, Danny quickly spotted someone he knew in the distance. As if called, Skulker turned his head towards Danny, then veered sharply to the left and flew fast in Danny's opposite direction, a first for the self-proclaimed hunter to not hunt his favorite prey. ‘Something's not right and Skulker definitely knows something.’ Danny thought.

Danny quickly chased after him; Skulker could never beat Danny at speed chase even at his best, and he won't be winning today's unplanned race either. “Hey Skulker! What’s going on?” Danny yelled over the gap between them but Skulker gave no reply, diving down deep into the reddish forest ravines of the island below. Not to be deterred, Danny did a quick aerial flip, adjusting his flight angle to follow down Skulker’s path. Danny soon caught up to Skulker and launched him into a nearby rock with sticky ectoplasm to hold him still long enough to talk. Skulker ejected from his metal suit but Danny was faster and caught the real ghost before he can escape.

.

(Why is Skulker fleeing?)

.

"Hey Skulker, not hunting me for once?" Danny asked teasingly.

Skulker paled (Danny never knew ghosts can turn pale) and squirmed even more. Danny's smile dropped.

"What’s going on Skulker?" he asked worriedly. “None of the ghosts have appeared in the human world and the Zone looks empty somehow”

Skulker squirmed a bit more but realizing he’s stuck finally said, “Ghost Child, haven’t you ever wondered why the Infinite Realms is never overcrowded?”

Danny frowned, puzzled as to where this leads to. “How is this related to this situation?” Skulker stared at Danny stunned.

“What?” Danny asked, suddenly self-conscious, “-was there something I was supposed to know about?”

Skulker sighed, unconsciously loosening a bit of his tension, “You’re so young. So very young. We Ghosts don’t fade as fast as Newcomers arrive from your world. In the Realms, there's a natural system that keeps the population under control. An ecosystem. There's predator and there's prey. And then there's the Apex Predator. There's a reason why Dark was feared. It wasn't just for his harsh rule. It was because he was the Apex Predator.”

Danny struck at the odd wording, "’Was’? Was that because he got sealed?” Danny paused, “But wait- if he's sealed, he would still be the Apex predator. So how-? Wait. Did I?"

Skulker nodded, "Good you're catching on fast. By defeating Pariah Dark, you have proven to the Realms that you're the best candidate for the Apex Predator. And with the new status comes sets of conducts, one your body instincts know well. You've been culling down the uncontrolled excess from Pariah Dark's sleep quite fast. Your hunger would settle down soon of course once balance has been re-established in the Realms."

“But- How- Wait- What-?” Danny looked down at his hand “Hey Skulker--!” but his hand is bare.

.

Danny’s lips tasted oddly tangy, energized.  

.

.

.

-----

(Skulker might've slipped out of Danny's slack hand while Danny is in shock. Danny might've bit his lips hard enough to bleed. It's not that hard with his new fangs. But this is just speculation...)

[judyhopps934-mt-zd]

Thoughts on Gang of Secrets

Warning: Spoilers and intense emotions. Have fun!

Chat Noit sensed that something is wrong with Ladybug. Love how he can sense that based on what she doesn't say.

She almost didn't pound it and was distracted to do so. Oh boy.

BOIIII WHY DID YOU TAKE HER TO THE MOVIES???? THIS IS NOT THE TIME!!! AND LADYBUG KNOWS THIS AS SHOWN BY HER FACIAL EXPRESSION!!! I am SCREAMING because he took her to a movie ABOUT ROMANCE!!!

The civilians do not mind that superheroes are going to the movies. That is until...

Ladybug goes into this rant about romcoms and I agree with every word she says. There is no such thing as a happy ever after and things do not go perfectly. Go off Ladybug!!! There's a reason why I hate rom coms.

The civilians being shocked/annoyed from her rant just adds to it. I am guessing because this is literally freaking Paris and considering the couples there. Has the same vibes as Grunkle Stan from Gravity Falls when he approached a couple to say marriage is terrible in the second episode.

Hurts that the rant was the reflection of Marinette's dilemma.

Chat finds out that it was about heartbreak. He finally picks up about social cues! Good work Chat! Too bad that you learned that after your breakup with Kagami.

Ah, the swimming pool. A great place to go to forget your heartbreak go for a swim.

Realized that akumas cannot attack people if they are submerged under water, which is why she goes to the pool and a theory roaming online that she goes to the pool to cry makes a lot of sense.

I know this is a kids show and that logic gets thrown out the window, but does no one in Paris find it fishy that Ladybug in her swim suit enters the Dupain-Cheng household???? I feel like no one cares.

Ladybug might say that the board of pictures with Adrien and Luka and some of her friends might not bother her, but it seems to bother her somewhat as it is a reminder of the relationships that she can't have as long as she's Ladybug. It hurts badly though.

Unpopular opinion: The Kwamis can be good at providing comfort and probably make them laugh, but they are not the best therapists. Do not blame them though.

Marinette only detransforms for Tikki's wellbeing. She is at that point where the only reason she does something is because someone else is suffering, not for herself. It hurts seeing her suffer like this.

Tikki is fine despite being in the earrings for a long time. She is more concerned about Marinette though.

Meanwhile, the girls have their suspicions about Marinette as they did not know about her breakup with Luka until he told Juleka, which started a chain that I cannot remember, but do remember that it ended with Alya.

They call Marinette, but she does not answer because what will she tell them? The not answering part is a mood, but the reason hurts.

Alix being like "why not get orange juice with her and talk about her feelings" and everyone else staring at her as if she was the one with a crazy idea. I can't! Especially when she was like "*sigh* fine"

Also, Luka is not taking the breakup well either if Juleka's photo is anything to go by.

The bracelet idea is cute. I did something similar to that Junior year.

The scene from the ad that made us mad: Marinette transforming angrily after saying how her life as Marinette is complicated and prefers to be Ladybug all the time. It hurts to see this scene actually be in the 3rd episode as the guardianship and the breakup had consumed her so quickly.

Baby girl, we love you and we know as the audience how hard your life is now. This is why we are very concerned about you challenging ShadowMoth. Concerning.

But she breathes and goes back inside. Glad that you blew off some steam, but is everyone in Paris not aware that this just happened?!?!? Hello!?!?!?! Like Plagg said: People are blind. And a good thing too.

Just as this was happening, the girls come barging in. Good that they are great friends for being concerned, but have they ever heard of knocking?

Rose finds the dollhouse. Its a nice dollhouse, but isn't that too obvious that it will attract other people's attention? Not judging though, its a nice dollhouse and shows the expansion of Marinette's craft.

Originally, I thought they were coming after Marinette because of what happened in the episode "Ladybug", but glad to know her other friends cared about her too!

Alya comes up to find Marinette in the balcony just as she detransformed. That was WAYY too close.

Obviously, this made Marinette angry. Like who wouldn't be? They did barge into her room without asking and she was already stressed out as it is. And they were also snooping through her stuff.

In the heat of anger, Marinette said that she didn't want their friendship, which shocked everyone. So they left. But they weren't mad, they were just upset.

At least no friends means reduced amount to lying??? Yeah, but we need friends in life, so it is a lose-lose case.

Sabine asks of they are okay and no one says anything. I wonder if she will ask Marinette later on.

They go to the park and as they recall their pain, ShadowMoth akumatizes them in a link because of their emotional connection to the bracelet. They didn't even have to hold hands in a circle!

Finally, a safeguard for the Miracle Box that isn't obvious and is protected by a passcode. The record sonogram (or whatever is called) that Master Fu had!

Bruh, they couldn't come up with something different for the Gang of Secrets other than their former akumatized selves???

And then the girls (now the Gang of Secrets) barge into Marinette's room (again) to get her to spill her secrets.

Trixx using their power of illusion to lead the Gang of Secrets somewhere else. And Marinette was hidden.

Lady WiFi wondering how Marinette jumped 3 stories without superpowers was just that wholesome moment like girl you don't even know.

Every kwami using their powers without a holder has their own adverse affect. For Trixx, it was making the Eifel Tower dance (or at least I think it's dancing)

Plagg is like "this isn't a me thing, this is an everyone thing, but more importantly a Trixx thing." Adrien is like "M'Lady needs me!"

Ladybug and Marinette merge into one (figuratively speaking) when she tells Chat why the Gang of Secrets was there in the first place. Poor girl, we need to give her a hug.

Ladybug confronts Lady WiFi and tries to tell her that she is trusted and about Rena Rouge. Then...

SHE BREAKS OUT OF HER SIDE OF THE AKUMATIZATION!!!!! THIS IS NOT A DRILL! ALYA HAS BECOME THE FIRST PERSON TO BE AKUMATIZED AND BREAK OUT OF IT! AND SHE HURT SHADOWMOTH WHILE DOING SO! I'M HAPPY FOR MY GIRL.

Ladybug trusts Alya and gives her the Fox Miraculous again. Not complaining, but what about ShadowMoth knowing her secret identity??? Miracle Queen anyone??? You know, a chunk of the reason WHY MARINETTE IS SUFFERING IN THE FIRST PLACE?!?!?!?

Also, teleportation of the Miraculous from the Miracle Box to Ladybug's yoyo! (Well more like a direct connection!) Cool and smart!

Rena Rouge, THANK YOU FOR SUPPORTING US MARICHAT STANS AND OUT #justice for Marichat CAMPAIGN STARTED BY SOME OF MY FOLLOWERS ASKING FOR MORE MARICHAT EVEN IF IT WAS FOR 3 SECONDS!!!! (Yes I notice your comments peoples, I am generally a tired and busy person to respond, but I eventually acknowledge everything)

Can we take a moment and point out how amazing it was that Chat was fighting three (four???) akumas ON HIS OWN WHILE ON THE CAT PHONE!!! ICONIC!

IT WAS ALL SO CLOSE! SHADOWMOTH ALMOST HAD THE MIRACULOUS IF IT WEREN'T FOR PERFECT TIMING!

The moment with Alya in the alley! Friendship goals.

Marinette comes to terms that the breakup upsetted her so much and finds that love is complicated and chose friendship at the very least. Their reunion was what they all needed after what happened.

Alya stays behind to say that she knows that there is more, but will not press further. Can we get an applause for character growth?

Marinette asks her to stay longer as she wanted to tell her something.

It really was hard for her to keep lying to everyone and how she had to break up with Luka for this reason while also fearing that it would be the same with Adrien (she does not know, so she has a right to fear, also Chat Blanc!) She really needs a hug and such.

The whole concern about things changing between them is relatable to be but on a different context. It hit hard for me.

My fellow peoples: the moment that we were (sort of) waiting for ages is here:

JE SUIS LADYBUG! MARI TOLD ALYA THAT SHE'S LADYBUG!!!!

And Alya GIVES HER A HUG AS IN SHE UNDERSTOOD WHAT THIS MEANT AND THE REALIZATION OF WHAT MARINETTE WENT THROUGH!

As sad as I am that it was not Chat that she said this to first, I am glad that it was Alya. As her best friend literally hours prior to becoming Ladybug, having stuck by her side unconditionally, and having the willpower to break out of her akumatization, Alya is a perfect choice. Now I look forward to see how Alya helps Marinette deal with this burden.

Overall, this is a top tier episode, aka the best episode in the entire series in my opinion! I love how we explore Marinette's feelings regarding everything that is going on in her life and the ramifications of her being a guardian. It hurts and at the same time, it is beautifully executed! It shows the evolution of the writing and of the characters!

My arm hurt from the vaccine yesterday and these posts are usually long, so that's why it's released today rather than yesterday. Anyways, I recommend watching this episode!

[waveypedia]

A Day in the Life of Gyro Gearloose

Ao3

i. 

Gyro arrives at the lab at six A.M. on the dot, two hours before call time. The lab is empty, for once. He slips through the elevator doors and darts around the lab, putting on coffee (even though he’s already had two cups at home), and arranging his papers.

At last, he settles down at his desk, fully prepared to get a good amount of work done before Fenton and Manny bustle in with their noise and cheer that used to bother Gyro oh so much.

He’s excited to have the lab to himself, for once. Even Lil’ Bulb is still charging, as it’s too early for him too.

Gyro lifts his pencil, ready to write… and lowers it, unable to think of a concrete idea.

He struggles to put words and calculations on paper, and only gets a couple steps in before he inevitably loses focus again.

“This is ridiculous,” Gyro spits at the empty air, startling a sleepy Lil’ Bulb out of his slumber. “I am Doctor Gyro Gearloose. I do not lose focus.”

Missing the rest of your team? Lil’ Bulb flashed at him in Morse code.

It’s a testament to how far Gyro’s come since Fenton’s original hiring that he only crosses his arms indignantly and mutters a quiet “Maybe.” 

It’s not physically possible, but Gyro knows Lil’ Bulb is smirking, somehow.

He busies himself by bustling around the lab, taking inventory of mundane machines and ordinary tools. The lab is still uncharacteristically silent, but at least with Gyro’s manually manufactured noise it’s somewhat bearable.

Fenton, bless him and his errant punctuality, arrives a blissful seven minutes early. 

“Good morning, Dr. Gearloose!” he chirps, dropping his bag on the floor with a thud that would’ve made the Gyro of a year ago scoff, but today’s Gyro just sighs in relief. “How are you today?”

“Unproductive,” Gyro grumbles. He’s reluctant to admit the supposed cause of his unproductivity, but knowing Fenton it’ll come out sooner or later.

Fenton hums in response. “Sorry about that. Hopefully you’ll escape your funk! In my experience, a refreshing walk always clears my head!”

Gyro snorts. “I’m not going outside, Doctor Intern.”

“I’ll get you out there someday,” Fenton replies, not swayed in the slightest.

“Whatever you say,” Gyro says, waving him off and turning back to his workstation. Fenton’s presence in the lab is noisy, which used to bother Gyro to no avail. Now, it seems, he can’t focus without it.

“Huey’s coming later today,” Fenton calls over as he makes coffee. “He has a promising project he’s presenting.”

Gyro snorts goodnaturedly. “You make it sound like a school assignment.”

Fenton shrugs. “Huey’s words, not mine. Besides, I think that format works well for him. It does for me, too.”

Gyro snorts in lieu of a reply. He actively chooses not to tell Fenton it works for him as well.

As their conversation fades out, Gyro settles down at his desk. With his coworkers’ chatter floating around him, he slides easily into a focused headspace. In fifteen minutes, he’s made more progress than he had in the hour before his coworkers arrived.

While Gyro tinkers with a gadget, he’s vaguely aware of Fenton getting up and crossing to Manny’s desk. Usually he’d pay more attention, but he’s busy cursing ridiculously small screws.

“Dr. Gearloose,” Fenton calls. It only half registers, and Gyro hums in response, waving a hand dismissively.

“Dr. Gearloose,” Fenton says, a little more insistently this time.

Gyro starts. He blinks down at his project, which is nearly completed. “What do you want, Doctor Intern?”

Fenton quirks a brow. “Can you look this over?”

“We’re having trouble with it,” Manny clops via Morse Code. “Could use an extra eye. Or four.”

Gyro rolls his eyes behind his aforementioned glasses. “What are you, six? I’ve never heard that used outside the elementary school playground.” But he acquiesces, crossing the lab and settling his hands on his hips as he eyes the gizmo Manny’s been working with. 

“It’s the double-sided shrink ray,” Manny says, pushing it towards Gyro with his hooves. 

“We were able to activate the shrinking command upon request, but it’s unstable,” Fenton says, carding a hand through his swoopy hair. “The beta waves are successfully translating into gamma rays, but some of the neutrons are glitching.”

Gyro pushes closer to the table. “Let me see.”

“That’s why we called you over,” Manny clops, but steps back. Fenton chuckles softly, making Gyro roll his eyes.

He picks up the device and squints at it, examining it from all angles. After a little while of tinkering, he drags a nearby chair over. Fenton drops a cup of coffee next to him, but he barely notices it.

The lab falls back into its quiet - but not silent - rhythm while Gyro works. It’s comforting.

During the second dissection attempt, Gyro lets out a small “Aha!” and tweaks a few wires. Triumphantly, he leaps out of his chair and holds the device out to Manny, puffing out his chest. “That should do it!”

Manny twists the device sideways and fires. Simultaneously, an apple and a pile of paperwork shrink into almost-nothingness.

“You did it!” Fenton’s grin splits his face in two. “Thank you, Dr. Gearloose!”

Gyro still finds it difficult to meet Fenton’s gaze when he’s so openly enthusiastic and supportive, even now. He settles for glaring at the coffee maker behind him, pointedly not looking at Manny either, even though he’s laughing. “Of course. It was nothing.”

Fenton’s smile softens, but it’s no less genuine. “Well, we still appreciate it.”

Gyro crosses back to his desk. “Well. It was nice to actually get some work done.”

Fenton frowns, dropping his pencil to focus on Gyro. “What do you mean?”

Gyro drops his gaze, gritting his teeth. “Well… maybe… I’ve unfortunately gotten used to your incessant, needless background noise,” he finishes in a rush, scowling. “It was too quiet this morning.”

Fenton beams back at him. “Aww, Dr. Gearloose! That’s so sweet!”

“It is merely an observation,” Gyro grits out. 

“Admit it, “ Manny says. “You love us.”

Gyro only huffs in response. 

“Well, it’s nice to work with you too,” Fenton says, still smiling widely. Gyro would say his grin is too wide, but for some reason it doesn’t quite bother him like it used to.

He’s grown fond of it. He’s grown fond of them all.

ii. 

There are three constants in life. Change. Death. Gyro Gearloose’s inability to leave the underground lab for long periods of time.

Della texts him just often enough to be a nuisance, but not often enough for him to justify blocking her (it would result with a very angry Della in his lab, a volatile variable he’d rather not contend with, especially when Fenton, Launchpad, and Scrooge fulfill that dangerous category as well. He knows this from experience.). The familiar buzz of Gyro’s phone, once startling from disuse, is now a surprisingly comforting constant of the background noise in the lab. Gyro’s a scientist working under Scrooge McDuck, with Fenton Crackshell-Cabrera and Manny the Headless Manhorse in his lab - he has to be able to tune out the white noise. 

You. Me. Coffee. Della texts. She leaves no room for argument, which frustrates Gyro to no end even though he’s the exact same way. He sighs, tucks his phone under a towering pile of papers, and resolves to ignore her until the time she’s set for their gathering has passed.

But Della cannot be swayed that easily. Nothing can stop Della Duck.

At five minutes to their set meeting time, the elevator doors open with a ding. All of the lab’s primary occupants are present, but Gyro is too buried in his work to notice.

He does, however, notice the next noise. It’s impossible to ignore.

“Heeeeyyy, G-Man!!!” Della chortles, all exuberance and energy. She’s next to Gyro’s desk before he can say “Blathering Blatherskite!” (Hey, it was his catchphrase before it was Fenton’s!). She slams her hands on his desk, sending papers flying. Gyro squawks in protest, but Della ignores him.

Della shoves her face in his personal space, grinning like a maniac. Gyro maintains his death glare for a moment longer before slumping into his chair, dropping his head into his arms.

“I’m not going for coffee with you,” Gyro groans. “I have enough on my plate right now,”

“Enough of that,” Della nags, smacking his shoulder lightly. Gyro just groans in response. “You prooomiiised!”

Gyro’s head snaps up. “I did nothing of that sort,” he hisses, low and dangerous. “I didn’t even reply!”

Della smirks triumphantly. “But you did see it,” she says, tugging on Gyro’s perfectly pressed shirt. “So you were ignoring me! Now you have to go.”

“Of course I was ignoring you,” Gyro replies matter-of-factly. “I hate you.”

Della grins at him. “C’mooooon, you looooove me. Now let’s get going!”

Gyro turns pleading eyes back towards his crew. “Tell her! Tell her we have work to do!”

Fenton smiles at him apologetically. “Dr. Gearloose, you worked really hard today and got a lot done. You deserve a break!”

“Yeah,” Manny clops. “Also, I’m kind of tired of hearing your inhuman screeches whenever something goes mildly wrong. No offense.”

At that, Gyro treats his coworkers to one of said inhuman screeches. None of them enjoyed it very much, it seems.

Which is how Fenton, Manny, and Lil’ Bulb (betrayal!) ended up bodily shoving Gyro into the elevator with Della dragging him by the shirt and pressing the buttons for him, Gyro glowering furiously all the way.

“You’ll regret this!” he vowed, shaking his fist. “You will rue the day! The great Dr. Gyro Gearloose will never forget this act of betrayal!”

“Aw, you care!” Della says flatly as she opens the elevator door. “Now c’mon, let’s get some coffee in you that’s not from your lab machine. You look like you need it.”

—

By the time they’ve arrived at Della’s fancy coffee shop across town, ordered, and gotten their drinks, Gyro has calmed down considerably. Nursing two coffees that will be sure to give Gyro a heart attack someday, he settles in across from Della on the patio. Outside the thin fence separating the restaurant from the sidewalk, passerby flit along on their way through the city. Downtown Duckburg is usually far too crowded and populated for Gyro’s taste, but today, separated from the hustle and bustle of the crowd and sated by the infuriatingly good (if ridiculously expensive) coffee, it is… palatable. Almost enjoyable, although there’s no way he’s telling Della that.

Della grins at him like she can read his mind. (Did Mr. McDuck mention anything about a mind-reading artifact last time he stopped by the lab? Or did the Narration 3000 reach her hands? He could’ve sworn he sold it for scrap metal…)

“So.” Della sets down her coffee on the table and leans forward with her head resting on her hands. “Gy-man. Nerd. Mr. Mad Scientist. Bearer of Bad Taste.”

Gyro frowns. “Excuse me? Bad taste? I’ll have you know that black licorice is objectively the finest taste in existence. You have bad taste.”

“That’s where you’re wrong, buddy,” Della says, lazy and lethargic, smirking like she just won a presidential debate.

Gyro huffs and crosses his arms, turning sideways in his seat to face away from Della as much as he can. She cackles. 

“You’re a dummy,” Della says, smiling fondly.

“I’m a world-renowned scientific genius,” Gyro replies, rolling his eyes.

Della snorts. “I know. You’re still a dummy.”

“Impossible.” Gyro wants to say more, but Della laughs and laughs. They dance easily between insults and compliments, toeing the line between teasing and hurt. Their arguments continue, sometimes flitting dangerously towards genuine. They both revel in the fact that an average eavesdropper wouldn’t be able to tell if they’re friends or not.

Sometimes Gyro himself can’t tell if they’re friendly or not. But he knows for certain they’re friends, at least.

Before he knows it, his coffee cup is empty.

iii. 

After Della returns to the mansion for Dewey’s flight lesson (a phrase that made Gyro want to flee into an underground bunker for a year) Gyro heads back to the lab and vows to actually get something done for the rest of the day.

Unfortunately, in his life, things rarely go the way he wants them to.

Even with Huey in the lab (why did Fenton agree to work with him once a week anyway? Why did Gyro agree?) and Manny, a surprising force of calm, out for lunch, they make it an entire hour without incident. Before things inevitably go wrong.

The first sign of trouble is the explosion that rocks the Money Bin.

It takes all of them by surprise. Gyro and Huey scramble to save their projects while Fenton calls for the Gizmosuit. With the Gizmosuit’s enhanced strength, Gizmoduck shoves aside debris and forces open the elevator doors only to find a supervillain already there.

To their credit, the supervillain, a broad-shouldered orange lizard with medieval-style armor, seems just as surprised as Fenton. 

They narrow their eyes at Gizmoduck behind their mask and drop into a fighting stance, their fists raised and their weight centered beneath them. “I don’t know how you predicted that I, the Liliputan Lizard, would raid Scrooge McDuck’s coveted lab. But now that you’re here, we will have a battle for the ages!”

While the villain monologues, Gizmoduck’s head snaps around to stare at Gyro and Huey. He can feel Fenton’s piercing gaze through the impenetrable visor. 

“Get to safety!” Fenton hisses through his teeth, flapping a frantic, dismissive hand. 

“But-” Huey steps forward, raising something he’s holding, but Gizmoduck just shakes his head and turns back around, readying for the villain’s attack.

The force of their gadget knocks Gizmoduck into one of the side tables. Taking advantage of the chaos, Gyro snags Huey’s arm and hightails it into an all-too-familiar closet.

“Dr. Gearloose!” Huey yelps, stumbling along at his heels. “Wait!”

“Blathering blatherskite,” Gyro scowls, peering frustratedly through the tiny gap in the closet door. “I’ll never get anything done at this rate. They’re going to ruin all my projects!”

“Dr. Gearloose,” Huey snaps, tugging at Gyro’s sleeve insistently.

Gyro spins around. “What, kid.”

Huey clutches whatever he grabbed close to his chest and peers up at Gyro with wide eyes. “We have to go out there and help! I have-”

“No way,” Gyro says, cutting him off. “That would mean too many variables. I’m not about to see another project crushed to bits because you want to get in the way.” He glares out into the fray, fists clenched. “Although I have half a mind to go out there and punch that guy for messing with my work.”

Huey presses up onto his tiptoes to peer around him. “But I can make a difference,” he insists, impassioned. “Look.” 

Huey holds up his object, and Gyro reluctantly turns away from the fight to examine it. He pushes his glasses up on his beak to get a better look.

A short, stiff antenna pokes out from a small rectangular box with a big red button in the middle. As far as gadgets go, it doesn’t look very impressive - but looks can be deceiving.

Gyro adjusts his glasses. “Did you make this?”

“Fenton helped,” Huey confirms bashfully. “It discharges electricity, in both large bursts and streamlined blasts. Theoretically, it can reprogram circuits and switches, although I haven’t had any chances to test it out yet.”

“Just my luck,” Gyro grumbles, dragging a hand down his face. So that’s what they’ve been working on. “Well, I’ll tell you a secret, kid. I test all my inventions to the nines, and they all seem to blow up in my face. It’s worth a shot. It’s nothing out of the ordinary, anyway.”

“Not all of them,” Huey says, smiling in a way that’s far too knowing for a twelve-year-old boy. He steps in front of the doors, readying the remote.

Gyro reaches for the unlock button he’d painstakingly installed after one too many times of getting stuck in this closet.

Huey steps around Gyro to peer through the gap. “If we cross behind these tables here and Manny’s desk, we’ll have a clear shot at the elevator. I can use my remote on it.”

He glances up at Gyro, eyes wide. “Is that good?”

Despite himself, Gyro’s beak quirks up. “Yeah. Let’s get these jokers out of my lab.”

Huey’s face lights up. Gyro snaps his head away, unwilling to let the sappy moment go on for any longer, and punches the unlock button with far more force than necessary. 

They duck out of the closet (with an undignified sigh of relief from Gyro) and behind the worktables. Almost unconsciously, Gyro scampers just ahead to slip closer to the tables, keeping his body between Huey and the fight. (With the tables between him and the fight, of course.) 

Within seconds, they clear the worktables and duck behind Manny’s desk. Huey steps out, angling his remote to the most precise degree. He’s got a clear shot - but he’s also out in the open.

Gyro’s fingertips hover just over the hem of Huey’s sleeve, not quite holding on. But if anything happens, he’ll pull Huey back to safety.

Hopefully.

At that moment, Fenton dives towards them to avoid an oncoming attack. Gyro can tell the moment he sets eyes on the pair - his jaw tenses and his shoulders flick back. In the back of his mind, Gyro wonders if it’s even noticeable to others. The supervillain certainly doesn’t seem to notice. 

Does he really know Fenton so well he can read the nuances in his body language?

It feels nice.

The softness blossoming in Gyro’s chest is unfortunately overridden with adrenaline and fear, and he barely registers it. Gyro gives Fenton a tiny nod towards Huey, who waves his remote.

Gyro can see Fenton grapple with the situation internally, before eventually giving up and turning to distract the Liliputan Lizard. He grabs them by their shoulders and spins them, hauling the villain so his back is to Gyro and Huey. 

Gyro nods begrudgingly. Smart.

With the window Fenton’s given them, Huey lunges forward and blasts a stream of electricity at the elevator. It dings, and the floor numbers at the top whir and whir. They don’t settle.

The Liliputan Lizard’s head snaps up. “Huh?”

Huey frowns, deep in thought. Gyro doesn’t mirror his cliché thinking pose, but they’re both pondering the same dilemma: What now?

A fresh surge of adrenaline pumps through Gyro’s veins, and, on impulse, he jumps out and does something twelve months ago he wouldn’t even have considered.

“My lab is filled with dangerous, votile inventions,” Gyro snaps, intentionally drawing out his words with more annoyance than he feels. He steps out from behind the desk, away from the elevator. “You just messed up my project! You’ve doomed us all!”

He points an accusing finger at the supervillain and wills it not to shake. “Don’t you see what you’ve done?!”

The Liliputan Lizard shoves Gizmoduck away (no easy feat) and strides towards Gyro, slow and confident. His tail lashes behind him, knocking a vial of bubbling fluid to the floor, but they don’t even flinch. Gyro drops his hands at his side and clenches them into fists.

“Ah, Gyro Gearloose,” the villain says, smirking. “I almost forgot the reason I came here in the first place. Thank you for reminding me.”

“It’s Doctor Gyro Gearloose, actually,” Gyro intones, holding up a finger. “And what is that oh-so-important reason? Surely it cannot be more important than my projects. Which, may I remind you, you’ve ruined!”

The Liliputan Lizard is close enough to touch now. They stop an arm’s length away from Gyro and settle into a wide second position with their weight centered. It’s a position of power. 

“The double-sided shrink ray,” the villain drawls. “Hand it over.”

Gyro narrows his eyes. “And why should I do that?”

“Well, I’ll trash your precious lab, for one,” the Liliputan Lizard says, gesturing lazily to the already trashed-lab. Gyro growls. “More than I already have, of course.”

Gyro takes an unwilling step back, his feet moving of their own accord. Something hard brushes against his back. His hands hesitantly fall on the edge of Manny’s desk.

“So what’ll it be, Dr. Gearloose?” The Liliputan Lizard mocks, stepping forward into Gyro’s personal space again. He snarls. 

Gyro chances a glance behind him. On Manny’s desk, glinting underneath the overhead lights, lies the famed double-sided shrink ray.

Oh, if only he hadn’t given it to Manny for the finishing touches today. Today, of all days!

Gyro chances a glance back at the scene before him. Fenton’s still on the ground, and Gyro staunchly refuses to acknowledge Huey in case the villain will see him.

Is it worth it?

Gyro’s fingers graze the corners of it.

“Hey!” A bolt of electricity, sparking blue, arcs into the villain’s side. They double over, revealing Huey behind them. “Leave Dr. Gearloose alone!”

Fenton rises to his feet just in time and cracks his knuckles. “All right. Playtime’s over.”

The Liliputan Lizard whirls around, snarling, as Gyro twists and steps sideways. “Like you can stop me! I’m getting this shrink ray, like it or nooooooooooooooooooooot!”

Tinny screeches pierce Gyro’s ears, but it’s the most damage he takes. The once-mighty Liliputan Lizard stands tiny on the lab floor, joined by Manny’s desk lamp.

Slowly, Gyro lowers the shrink ray. “Stay out of my lab,” he snaps, sharp and biting as always, but with a rather uncharacteristically dark undertone. “Stay away from us.”

Gizmoduck scoops the tiny figure up in his gloved hands, muffling any protests. “I’ll get him out of your feathers, Dr. Gearloose!” he says with the awkward, stiffly polite manner they use to protect Fenton’s identity.

Gyro nods once sharply as Gizmoduck leaves. All of his adrenaline leaves him in a rush, and he sinks heavily into the nearest chair (which happens to be Manny’s, but he’s out for lunch and Gyro can’t bring himself to care).

“Dr. Gearloose!” Huey scampers over to him, eyes wide. “Are you okay?” He bustles around to Gyro’s side, not waiting for a reply. “The Junior Woodchuck Guidebook advises to rest after stress.

Gyro takes a deep breath. “Yeah, well, I did have a quiet day planned. Mostly.”

“With your track record, that’s highly inaccurate,” Huey snorts, raising an eyebrow. 

“I’ve had enough excitement for one day,” Gyro grumbles. “All my excitement was planned for later, thank you very much. I’ll take a quiet rest of the day.”

iv. 

Except things are never quiet in McDuck Industries’ Research and Development.

It’s a surprise when the elevator dings, signifying an arrival, but the figure that emerges is no surprise at all.

The elevator is still in pieces and sparking with remnants of Huey’s electrical blast, but that’s never stopped Scrooge McDuck. In fact, he probably finds the challenge appealing.

“Gyro, my boy!” Scrooge says, spreading his arms open wide. “

“Mr. McDuck,” Gyro acknowledges his boss with a nod. “What do you need? Progress checks?”

“No, no, nothing like that.” Scrooge saunters over to Gyro’s desk, glancing around the lab. He smiles to himself, the kind of smile only a secret brings, like a joke just before the punchline.

“I thought you could accompany me out, eh?” Scrooge says, light and lilting. “I’ll let you choose where we go~”

“I sense a conspiracy,” Gyro grumbles, dropping his chin. He levels a fierce glare at Fenton, who hides a triumphant giggle behind his hand.

Scrooge tugs on Gyro’s arm, gentle but forceful. “Come on. It’ll do you good, laddie!”

“I already had one spontaneous outing today,” Gyro grumbles. “With your niece.”

Scrooge only beams brighter. “Ah, good lass!”

With a little more poking and prodding, Gyro begrudgingly allows Scrooge to drag him out the door and into his car. True to his word, Scrooge lets Gyro choose where they go. For a while he drives around aimlessly, with the intent of wasting time until Scrooge gets bored and lets them go back. But before Gyro can see his plan to fruition, he spots somewhere he’d actually like to go.

“Ah, the library. Good choice, lad!” Scrooge praises as they step out of the car. “All the wee lads and lassies prefer that blasted telly to good, old-fashioned books.”

Gyro frowns at Scrooge. “I’m not one of your kids.”

Scrooge just snorts and brushes past him, leaving Gyro to run in his footsteps.

When Gyro catches up to Scrooge, he finds the older duck humming to himself in front of a displayed stack of books about Inducknesia. Planning for a new adventure, probably. Gyro laments the lack of science books in the front and starts to head to the back in his search.

“Excuse me,” a familiar voice pipes up. “This book will likely interest you, Dr. Gearloose.”

Curious. Of course everyone should know the name of Dr. Gyro Gearloose, acclaimed inventor and mad scientist, but unfortunately that just isn’t the case. Yet.

So just who is this mysterious stranger?

Gyro whirls around to find a familiar-looking child, holding a thick leather-bound book patiently out to him. He squints at her.

“Violet Sabrewing,” she supplies helpfully after a minute of dead silence. 

“Ah.” Gyro nods awkwardly at her. Isn’t she one of Pink Niece’s friends?

Scrooge wanders over, likely to check that Gyro hasn’t somehow set the building on fire in the five minutes he’s been gone. His gaze lights up at the sight of Violet. God, all the Duck-McDucks are weak for children. “Ah, Violet! What brings you to the library today?”

“Hello, Mr. McDuck,” Violet says politely. “I’m looking for references on micronanite portal technology.” 

“Ah, micronanite portal technology!” Scrooge says blusteringly, grinning wide to hide his confusion. Gyro snorts.

Violet’s smile flattens. “You have no idea what that means, do you?”

“I’m afraid not,” Scrooge confesses abashedly. 

“It uses miniscule robotic parts to create wormholes in time and space,” Gyro jumps in flatly, earning him a nod of approval from Violet. Gyro tries not to sneer, since Mr. McDuck would likely chastise him for it. He doesn’t need approval from a child.

Even if it is a very, very smart child. Who’s working with micronanites, which Gyro didn’t get to study until he was working under Dr. Akita. Who’s also friends with the Niblings.

Scrooge chuckles softly. “Thank you, Gyro.”

Gyro nods sharply.

Scrooge turns his attention back to Violet. “That sounds… interesting! I look forward to seeing your adventure with this technology,” he says kindly. “

As they converse, Gyro wanders away to peruse the library. Every so often, he passes by Scrooge and Violet, deep in conversation.

Eventually, Violet leaves, and Scrooge finds Gyro flipping through a book of scientific theoreticals. “I’d say it’s about time we left, eh, laddie?”

“Finally,” Gyro mutters, but he makes them stop to check the book out. Scrooge smirks knowingly at him.

On the drive back, Scrooge prattles on about his latest adventure. The constant socialization is zapping Gyro’s energy exponentially by the minute, but Scrooge seems content to fill the silence himself.

It’s only when they’re walking into the Money Bin does Gyro finally initiate conversation.

“You have a weakness for children,” Gyro tells Scrooge flatly as he walks into the elevator. “You should spend more time humoring them instead of me.”

Scrooge smirks at him. “Really,” he says teasingly. Gyro feels like he’s somehow fighting a losing battle, although he has no recollection of entering any kind of argument. “Aren’t I, though?”

“I’m not a child,” Gyro tells him again.

“Neither are Donald and Della,” Scrooge responds immediately.

Oh. Oh.

Quick as a flash, Gyro spins away from Scrooge, pressing a fist to his beak. Behind him, Scrooge laughs heartily.

After he’s composed himself, Gyro steps away from the episode. Scrooge pats him on the back, harder than he usually does. Gyro stands there frozen for a moment, hesitant, before giving into his instincts and pulling Scrooge into a tight, impulsive hug.

Scrooge lets out a grunt and coughs dramatically, but he hugs Gyro back just as tightly.

Just then, the elevator doors open with a ding and out steps Gyro’s favorite person in the whole world. 

“Hi, Dr. Gearloose!” Boyd chirps. “I went down to the lab to see Huey, but he just went home, and Dr. Fenton said you’d be up here!”

Gyro smiles fondly and turns away from Scrooge. “I was just about to head down there, but now I guess I don’t need to.”

Boyd takes Gyro’s hand as they leave. Gyro smiles down at it, soft and loving. Lil’ Bulb hops from Boyd’s shoulder to Gyro’s, and he keeps carefully still as Lil’ Bulb clambers across his head to perch on his favorite shoulder.

As they pass, Gyro turns to say goodbye to Scrooge, who looks like the cat that caught the canary. Gyro raises a questioning eyebrow.

Scrooge’s triumphant smirk turns into an all-out, unabashed grin. “Where do you think you got it from, lad?”

Gyro looks at Boyd blissfully clinging to his hand and Lil’ Bulb contentedly perched on his shoulder, and chokes.

v. 

Within minutes, Boyd and Lil’ Bulb are safely packed away into Gyro’s rickety car and on the road. Gyro slides in one of his cassette tapes Boyd likes, one of the eighties soft rock tracks his dad gave him. Lil’ Bulb perches on the dashboard, fiddling with the volume dials. They coast through the streets of Duckberg with Boyd’s bright chatter and electric guitar notes floating through the car.

Gyro relaxes at the wheel, slumping back in his chair and exhaling gently. He’s often the personification of road rage. It feels odd to not white-knuckle the steering wheel today. But when Boyd came back into his life, and subsequently into his car, he has made a conscious effort to not let frustration get the better of him. At least, not when he’s driving a two thousand pound death machine with a child inside (robotic child or no). 

But to Gyro’s delighted surprise, he’s found that Boyd’s mere presence calms him more than any of Donald’s breathing exercises or Dickie’s yoga classes. When he’s with Boyd, he loses tension he didn’t even realize he had.

After a quick drive, Gyro pulls into an offshoot of the Duckburg Mall. Boyd’s out of the car before Gyro’s fully parked, making the chicken roll his eyes and grumble under his breath. When he’s ready, he steps out of the car with the full intention to admonish Boyd. But one look at his excited face and the way he bounces eagerly on his toes, and all feelings of frustration vanish.

On Gyro’s shoulder, Lil Bulb cackles via Morse code. Gyro pointedly does not look at his other son as he takes Boyd’s hand and lets him lead them to their destination.

“Huey and I come here all the time,” Boyd babbles as they cross the parking lot. “We always get the Sugar-Free Butter Pecan, because Huey doesn’t do well with sugar.”

Gyro ruffles where Boyd’s head feathers would be. It’s metal, but warm to the touch, just like Boyd. “You can have sugar, though.”

“Yeah,” Boyd replies, unperturbed. “But I like the routine.”

Gyro nods in understanding. They reach the ice cream shop and peer up at the menu. “Do you want to get that today?”

“Hmm.” Boyd puts a finger to his chin, contemplating. After a moment, he brightens like a lightbulb - somehow more than the actual lightbulb on Gyro’s shoulder. “I think I’ll try something new today! I’m not with Huey, after all.”

Gyro hums in agreement and examines the menu himself. They order and choose a small table outside the restaurant, overlooking the parking lot.

“Did you have a good day?” Boyd asks, digging in with his spoon.

Gyro thinks about how his day started crappy and unproductive, but immediately flipped when Fenton and Manny came into the lab. He thinks about how Della’s impromptu visit, for all of his frustration at the break in routine, provided a much needed excuse to see his friend. He thinks about his terror and fury when a supervillain entered the lab, and the rush of adrenalinic joy helping Gizmoduck gave him. He thinks about his quiet afternoon out with Mr. McDuck, and how he’d missed researching in libraries as well as hands-on in labs. He thinks about how the people he cares about shaped his day. 

He turns his gaze towards Boyd and Lil’ Bulb, who fit perfectly into that category.

“Yeah,” he says, smiling softly. “I did.”

Behind Boyd, the sun is setting, with pinks and purples blossoming across the tangerine sky and seemingly setting the clouds ablaze. The grapefruit-orange light of the setting sun makes Boyd and Lil’ Bulb shine. Gyro’s heart clenches and aches, but it’s with love.

Boyd beams back at him. “I’m glad.”

“You’re my favorite person,” Boyd says, tilting his head back to gaze unflinchingly into Gyro’s eyes. Although the self-deprecating side of Gyro vehemently denies the sentiment, but somehow his words ring with a truth Gyro can’t deny. He may not believe in himself, but Boyd does wholeheartedly.

Gyro splutters and coughs, still unused to open affection after all this time. After a minute of struggling to cope, he settles on setting his ice cream down so he won’t squeeze the cone so hard it cracks. (It’s happened before, but it was fueled by anger, as many things are in Gyro’s life.)

Boyd reaches up to take Gyro’s free hand. “You don’t have to say anything. I know this is hard for you. But I want you to know how I feel.”

Gyro bites the inside of his beak and rubs his thumb over Boyd’s hand. “I… I wish it wasn’t,” he whispers, surprising even himself with the rare display of vulnerability. 

Boyd scoots his chair over next to Gyro’s and leans against him. Gyro exhales, feeling a knot of tension leave his chest, and leans back. 

Lil’ Bulb, already perched on Gyro’s shoulder, scampers over his head to settle on Boyd’s shoulder. He rests his head against Gyro’s shoulder, settling directly between them.

Gyro squeezes Boyd’s hand tighter. Boyd squeezes back.

“You are loved,” Boyd says. 

Gyro smiles. “I know.”

“Thank you.”

~

this is my piece for the Gyro Gearloose zine run by @georgiarose and glo.draws! I had a wonderful time working on this zine, and there are so many amazing pieces in it! It’s free to download, and we’re asking for donations to the Crisis Text Line in lieu of payment. I highly recommend checking out the entire zine!

For this piece, I wanted to explore the variety of relationships Gyro has with the people around him. he’s such a fun character and i love writing for him so much!

both the micronanites and huey's gadget are references to existing tech in disney animation (which i probably spent too much time researching to represent accurately akfghak). cookies if you can guess them!

thank you to @mrpinniped for the beta and to the entire Gyro Zine server for the lovely encouragement and feedback!

[freckledbodty]

Stripping Away The Bloat - The Umibe No Etranger Movie Did The Manga Dirty

I finally got around to watching the movie of Umibe no Etranger - a movie I didn’t know existed based on one of my old favourite BL mangas. And oh boy, does this adaptation reflect a painful trend in manga to anime/movie adaptations overall. Allow me a moment to rant, if you will...

TL;DR: READ THE MANGA BY THE LOVE OF GOD IT’S WONDERFUL. Also the movie is super pretty, but here’s a semi-detailed look at why it still really didn’t do the manga justice. You bet I came with receipts.

A few important notes before you start: 

1. Remember this is just my opinion, and I’d love to hear other people’s point of view on the matter, whether you agree or disagree! 

2. I am not fluent enough in Japanese to read the original without a translation, so my thoughts on the manga are coming from fan translations, which 100% might have affected how I view this! The anime I’m a little more sure on as I can generally tell when the subtitles have deviated, but that does mean I may have missed something/something was lost in translation that means something I say here is incorrect. I’m very sorry for this, so remember this is my view based on the media types I’ve consumed. 

3. Also the manga cuttings I use are not the best quality because of tumblr’s sizing, so even more of a reason to go read the books yourself! 

I’m aware I’m very late to this party, but when I saw the other day that this movie had been made, I was horrified that I hadn’t known about it sooner. I read the manga years ago, and adored it - it’s genuinely a sweet and beautifully drawn romance, and I’d highly recommend it to anyone. With that, however, the movie was a huge disappointment to me and I just need to have a moment to gush in a less than positive way. 

The Pros: 

Let’s get this out of the way, I’d still probably recommend this movie to anyone who likes romance anime-style movies. It’s beautifully animated. Seriously, this movie is stunning, with wonderful expressions, bright colours, and a pretty well suited soundtrack too. The animation tries to match the original art style of the manga, and frankly, I think it captures it perfectly. 10/10. Gorgeous. Watch it just for the prettiness. 

I’m also a big fan of any BL/GL adaptations that get a little more into the mainstream. This movie is definitely a huge win in terms of representation, especially when the manga (on the whole) avoided the more negative tropes that the BL/GL genres have historically been known for. (More on that later...) So that’s a win, and I will take it. 

The Bloat Cut: 

To put it simply, this movie fell into the trap of what I call (in my head) ‘cutting out the bloat’. As a long-time anime and manga fan, who has seen countless adaptations over the years, it’s a common theme that tends to make or break an anime. 

‘Cutting out the bloat’ to me means that the adaptors cut out a lot of the ‘smaller’ moments and panels that are seen in a manga. This movie was thankfully very good at following the original plot and took us through the same beats that the manga did (many adaptations don’t bother doing that at all), but they left out a lot of the extra stuff - the aforementioned ‘bloat’. 

The bloat isn’t really bloat in that it is pointless, however: the problem is that these little moments and scenes are seen to be pointless by the adaptors. Again, understandable: they have a limited run time, and it’s hard to include every little tiny moment, especially when they are ones that are easily scanned passed. Some bloat cutting is necessary to make an adaptation viable at all, but sometimes, it can be hugely detrimental to the piece. Umibe no Etranger is a key example of this. 

Setting: 

I watched this movie without rereading the manga, and as such, I was quickly thrown off by how bad the movie was. This was one of my favourite mangas, wasn’t it? Had I really had such terrible taste? (Yes, let’s not go there, but this manga was not one of my high-school bad decisions). 

The characters felt strange. Personalities did complete 180s after the time skip and did some questionable things that I couldn’t recall finding issue with when I read the manga. The two main characters felt so hot and cold that it didn’t feel like the story I remembered. Even the pacing felt off and janky at times. 

After watching, I went back and reread the manga, and this is where I saw all the ‘bloat’, the little intricate moments and minor panels that were easy to overlook but made the story what it was. Here’s a few of the biggest examples I could find. 

Shun:

Oh, Shun. What did they do to you? 

Shun’s character was bizarre. In the first 15 minutes of the movie, he was bubbly, friendly, and even bold enough to flirt with Mio. After the time skip, he was sour, cold, and completely withdrawn from the world. I understood Mio’s confusion because after the time jump he was a completely different character. 

The manga is often focused on Shun and his inner thoughts, and he’s the one who is hurt the most by the bloat cutting. For starters, he wasn’t as over-the-top friendly at the start of the manga as he was in the anime, and we’re able to see his inner thoughts and worries that cause his reservations from the first few pages we meet him. We also get more hints earlier on as to Shun’s past that explain a lot of his behaviour as a whole, as well as getting little hints as to why he’s even more negative and exhausted after the time jump. 

Mio: 

The biggest bloat cut out in terms of Mio is the big plot point of the phone call. For context, before leaving for the time skip, Mio promises to call Shun once he’s gotten to his new home. In the movie, this is never really brought up again, focusing on the relationship in the present, but this was a huge point to leave out. I think it was cut out because it was explained in one short scene in the manga, and therefore easily mistaken for bloat. 

In the manga, it’s explained that Mio does call, but it’s Eri who answers, and there’s a very important conversation that sets up Mio’s whole character development and explains why he returns to the island set on having a relationship with Shun. Eri warns him that calling Shun, despite knowing that Shun has feelings for him, is cruel and unfair, and tells Mio he shouldn’t contact him unless he’s worked out his feelings. It’s a great scene, and a real shame to leave out when it explains firstly why Mio never called back, and secondly why he is so adamant about his feelings and love for Shun when he does finally return: because he saw Eri’s warning to mean ‘don’t come back unless you are serious’.

Relationship:

In the movie, Mio and Shun didn’t really seem to have a relationship until the drama kicked up and then it quickly seem to disappear again. Shun was extremely held back and reserved, and barely ever seemed to return Mio’s feelings (even in the scenes he was instigating) - he even totally avoided anything resembling physical contact at first. 

Compare this to the manga, where there are little hints of their relationship progressing throughout the chapters. For one, Shun is never as cold and blank as he seems in the film, and when he does seem that way, the manga quickly shows a glimpse of his thoughts to explain how he’s exhausted or distracted - without those little bloated thought bubbles, he just seems... a little cruel frankly.

A really good example of this is the beach kiss scene. In the movie, as Mio is about to kiss him, Shun suddenly announces that he’s hungry and avoids the kiss altogether, leaving Mio confused. 

In the manga, they actually do kiss - it’s their first kiss, in fact. Shun seems embarrassed and his ‘I’m hungry’ feels like more of a way to distract them both. He explains he’s exhausted (which is fair enough, this is a big thing for him to process on little sleep that his inner thoughts earlier in the chapter already set up) rather than just outright shunning him. (Ha. Shun. shun. Get it?) 

A more *noted* bloat they cut out is that Shun and Mio get physical in the manga way earlier than the movie, the touches just not quite being everything Mio wanted. Without those more tender moments, where they actually seem like a couple, it seems like Mio is chasing after Shun desperately, whilst Shun couldn’t care less about him. It detracts from the whole relationship. Below are some examples of the two of them actually seeming like a couple that were cut from the movie, including longing looks from Shun, Shun hugging Mio whilst he’s asleep, and Shun asking to kiss and touch Mio. 

The Issue: 

Bloat cutting always annoys me, but usually, if it’s not hindering the story, I don’t mind. What bothers me most of all in this movie, is that without these subtle little panels and moments, the relationship between Shun and Mio seems... forced, frankly. In the movie, Shun seems to be the instigator of the flirting, and then after the time skip he acts practically disgusted, avoiding a lot of Mio’s advances, and we don’t get to hear his inner thoughts like we do in the manga to explain why he’s feeling this way. 

In the manga, during these ‘bloat’ pieces, Shun is an actual willing participant in the relationship, and Mio isn’t just forcing his advances onto Shun. It’s natural. It’s not flipping between hot and cold, or suddenly ramping up after a big moment of drama, it’s slow and careful and a real relationship. 

This would be a bad change in any adaptation, but it’s especially so in this one. Anyone who is a fan of BL specifically is probably aware of the genre’s bad rep historically for having some... questionable consent issues. This manga didn’t have them. The movie? I’m not so sure, and that’s why it’s rubbed me the wrong way. I could spend another 1000 words talking about this issue as a whole, but I’ll leave it there, you get the idea.

Expected? Yes. Okay? Meh. 

There’s no real point to this post aside from to complain a little and point out just how much more the source material gives us. Cutting the bloat always happens, and I don’t want it to stop happening per say, that would be impossible, but I’d kill for adaptors to just take a little more time to work out what is unnecessary and cutable bloat, and what is something they should really keep in. 

The movie is still cute and beautifully made, so please go watch and see for yourself! Mostly, I’d highly recommend the manga: it’s got the same gorgeous art style, only about 5 chapters long, and the story and relationship is that little bit more firmly built. 

I’ll stop ranting now, and I hope this actually made sense? Anyway, congrats on making it all this way.

[laequiem]

No tricks, only treats [ONESHOT]

/ Cardan and Jude join the rest of the family to enjoy Halloween in the Mortal World.

Part of Tales from the Mortal Realm, a collection of random moments in the lives of the Queen and King of Elfhame.

"Is it strange that I find you attractive dressed as such?"

I was looking at myself in the mirror, assessing my outfit, when Cardan sneaked into the room. His training with The Ghost was paying off, he was as silent as ever.

"Strange? Yes. Surprising? No."

Read it on ao3

"Is it strange that I find you attractive dressed as such?"

I was looking at myself in the mirror, assessing my outfit, when Cardan sneaked into the room. His training with The Ghost was paying off, he was as silent as ever.

"Strange? Yes. Surprising? No."

I saw him prowl towards me through the glass. He slid his arms around my waist, staring at me through my reflection.

Today is October 31st and Oak insisted we join him in celebrating Halloween. Of course, this means we all need costumes. I decided to go as the one character I knew more than anyone else.

Cardan.

I looked through his wardrobe for my outfit. It was quite hard to find a top that was loose enough to account for my breasts, as most of his clothes were tailored to fit him perfectly. I also found a dark blue coat, its collar covered in iridescent feathers. I gave up trying to find pants in his collection, as my hips would never fit, and just wore a pair of black leggings with black combat boots.

"What do you mean, dear Jude?"

"The only thing you love more than booze is yourself."

He raised his brows, making a show of looking offended. 

"Your capacity to lie to yourself will always impress me,” he said then plucked a kiss to my temple, “I love you more than I love wine."

I don’t think I will ever get over him being  caring . It felt as if he was a completely different person from the boy who would disturb lessons just to get attention.

Cardan turned me to face him, then inspected my face. “Something is missing.” He took my hand and directed me to his personal vanity. He opened the drawer and pulled out some cosmetics. He lined my eyes with kohl and coated my lashes with dark mascara. I suppressed my laugh when I saw he was so concentrated that he had stuck out his tongue. Then, he took out some glittery gold powder and applied it on my cheekbones. 

He took a step back to look at his handiwork and smiled.

“And the final touch,” he said as he plucked his crown off his head and put it on my head at an angle, “Voilà!”

I looked at myself in the mirror. I did not bother with any kind of wig. I put my hair up in elaborate braids, letting a few short curls hang in a few places. Yet, even without his signature dark hair, I still looked like him. I made faces at myself in the mirror, trying to get his grin right. 

Finally, I got up. “Your turn now, dearest Cardan.”

When Heather learned that Cardan would be coming too, she started suggesting outfits for him. She even went as far as drawing some of them. Something about his otherworldly looks inspired her. Maybe it's the tail, since a lot of her designs included it: a devil, sexy cat man and my personal favorite, a cute puppy.

In the end, I chose my own, petty idea. I walked in the closet and pulled out the outfit I had the servants clean for the occasion. 

“A King needs his Queen,” I grinned as I revealed the Queen of Mirth dress and crown.

Cardan threw his head back laughing. “You sure know how to hold a grudge.”

Thankfully, my husband was a team player, and he went with it. Even in this, he looked strikingly handsome. Or pretty, I guess. Unfair.

We landed in Maine in the early afternoon. It was strange to be awake so early, but Cardan did not seem bothered at all. We met up with Vivi, Heather, Oak, Taryn and Garrett at the entrance to FallFest, some kind of harvest festival that was held every October in the local park. It had everything from harvest contests to food stands, a section with typical carnival games, a small hay maze and even a haunted house.

I was not surprised to see my eldest sister dressed up, she went crazy for Halloween every year. Vivienne would dress up for a week straight before Halloween, even when she still lived in Elfhame. She was wearing a tight black bodysuit with a tail and claws as well as a black leather mask with cat ears. Heather dressed up as some kind of … plant lady? She had a short bodysuit made of green ivy leaves, green stockings and a long red wig. Oak was with them, wearing a reddish pink shirt with a big yellow star on it. I can only assume they went for pop-culture references I am unfamiliar with.

The real surprise was seeing my twin Taryn and her quiet lover also dressed up.

"What are you dressed as?", Cardan inquired, cocking his head to the side, "You ought to have dressed as Jude, you have already proved to be so good at it."

I snapped my head at him and slammed my foot as hard as I could on his. He was joking, of course. But the peace between me and Taryn was still fairly new. We mostly kept to ourselves and rarely talked. Garrett was back with the Court of Shadow and we were friendly, but he kept his professional and personal lives completely separated.

Cardan was hopping on one foot, scowling at me like he did not understand why I was upset. Taryn understood, though. She was sheepishly looking at the ground.

"I… I'm sorry for tricking you, Cardan."

I tried finding something to say to end the awkwardness. I wanted Cardan to apologize for what he said, but I knew he would not. Fae don't apologize.

Thankfully, Vivi broke the silence. "C'mon guys, we're here to HAVE FUN!" she complained, "What ARE you two dressed as?"

"Phantom of the Opera." Garrett replied.

"Nerds."

"Says the one dressed up as Catwoman." Garrett mocked.

The bickering continued, though less mean-spirited than Cardan’s original comment, as we walked down the main path. Our first stop was the pumpkin carving station. Each couple got their own pumpkin to carve, though Vivi and Heather’s pumpkin was mostly Oak’s handiwork and the couple making sure he did not stab himself. Taryn and Garrett made some intricate flower design on theirs, Garrett being the one doing the carving of course. As for us, well… Cardan had creative ideas, but no skills with a blade, and my skills were more of the  stabbing  variety. We settled on giving our pumpkin a traditional jack-o-lantern face. 

After the effort of carving pumpkins, we were starving. Oak was complaining, dragging his feet on the ground so much that Vivi and Heathers were holding both of his hands to pull him along. Behind them, I saw Taryn with her arm looped around The Ghost's.

I was suddenly very aware that Cardan and I were the only ones not holding hands.

Nobody knows us here. We needn't keep the appearance of the power couple, together to rule and nothing else.

I took my hand out of the pockets of my borrowed coat and tentatively brushed my fingers against Cardan's hand. I saw him whip his head towards me, and I blushed when I witnessed the surprise in his face. Soon enough, he smiled. One of those smiles he kept for me and only me, blissful and happy. The smile he gives me when we have the time to spend hours cuddled together in bed, enjoying each other's presence.

Cardan took my hand and squeezed. I squeezed back.

We spent the rest of the afternoon eating good food, trying to guess the weight of giant pumpkins and visiting a haunted house. Cardan was fascinated by the weird human traditions and absolutely ecstatic about the food. Pumpkin-spiced flavored food will become the new trend in Elfhame, judging by his reaction.

When the sun started to go down, Taryn and Garrett left for Madoc’s, who decided to try giving out candy to the trick-or-treaters. Heather and Vivienne had initially volunteered to take Oak trick-or-treating himself, but when one of their friends invited them to a party, we offered to take him instead. Oak was excited to spend more time with me and “Uncle Cardan”. 

I had not gone trick-or-treating in...10 years? Maybe 12? Since my parents died. Cardan, obviously, had never gone. So, dressed up as each other, with Oak dressed as some cartoon character, we roamed the residential streets of the city to beg for sweets.

“If it is called ‘trick-or-treat’, does that mean I can make bargains if someone refuses to give me candy?” Cardan asked as we watched Oak go up to a house.

I gave him my best ‘I’ll-strangle-you-if-you-do’ stare. “No. No turning people into cats, no curse making them hear imaginary insects buzzing around their ears.”

“Why is it called trick-or-treat, then?”

Vivienne told me they had to explain this to Oak, too, a few weeks ago. Someone at school had mentioned being excited to go trick-or-treating and my brother had been very confused.

“I don’t know.”

Cardan hmmed and smirked, “Perhaps the Folk were involved when the holiday was first established.”

I crossed my arms.

“If that’s the case, not all traditions need to be brought back.”

He laughed at that, then reached around me and pulled me closer to him.

“You win. I won’t trick anyone,” he crooned in my ear, “but I want a kiss for being well behaved.”

I rolled my eyes dramatically. “So needy.”

Once again, I had to remind myself that nobody knows us here. Nobody recognized our costumes today: in the mortal world, dressed as each other, we were only The Guy In An Ugly Dress and Fashionable Emo Boy. Nobody knew we are King and Queen of Elfhame, therefore there are no expectations to be the hedonistic king and his murderous wife.

I slid my hand behind his neck and pulled him down. I felt him smile as I captured his lips with mine.

“Ew, gross!” Oak’s voice came from the other end of the driveway, “Stop that, come here.”

Reluctantly, we pulled away from each other and looked towards the house. Oak was in front of the opened door, talking with a couple. 

“Honey, look,” the tallest woman exclaimed as we walked down the driveway, “She’s dressed as High King Cardan!”

“Oh my god,” the other one replied, sounding so very human, “that sounds kind of profane. Do you think he would have her hung for this?”

As I looked at the two women, I realized that Oak had stumbled upon the house of a Fae couple. They saw through his glamour, and he saw through theirs.

“This is my sister Jude,” Oak started, “and this is my Uncle Cardan.”

Both females had gone completely still and were staring at Cardan with wide eyes. Simultaneously, they bowed deeply. 

“Forgive us, Your Majesty. We weren’t expecting you.”

“We so rarely see our kind around here,” the shorter one said nervously, “we… wanted to meet who little Oak was with.”

“We have tea, if you would like.”

I dared a glance at Cardan and noticed he seemed amused. Was he delighted to make them uncomfortable?

“That won’t be necessary,” he said as he took my hand, “My  wife  has us on a tight schedule, we have other houses to visit. Have a nice evening.”

I caught the emphasis on  wife  and realized they only recognized him as royalty. ‘  Your Majesty ’, singular. I could tell from the two females’ expressions that they also understood their mistake. I felt bad for them knowing they had no ill intent, probably unaware of the situation in Faerie. Yet, I could not help the grin that crept on my face. I worked hard to become High Queen. I fought and killed my way through the ranks, almost dying. Multiple times. I made decisions that will haunt me until the day I die. I am High Queen, and the Folk must know. 

“It was nice meeting you,” I say as I take Oak’s hand, “You are welcome to visit us at the palace if you wish.”

My memories from before Faerieland were to blurry, I did not remember getting so much candy. Did Taryn and I get that much? How could we possibly have eaten all of that? Cardan and I each had a smaller bag, only accompanying Oak to some of the doors, but Oak had multiple full bags. Once he went to sleep, Oriana was more than happy to give us some. She had learned how bad candy was for children’s teeth - even little Fae kids. She filled little bags for us to take back to Elfhame. 

Like anyone eating candy for the first time, Cardan went a little crazy. He wanted to try everything. Faeries might be different in a lot of ways, but I now have proof that chocolate is addictive even to them. 

The High King of Elfhame ate so much candy that he fell asleep on the couch, to the former General’s dismay.

[agendratum]

OK so, i wanted to put my two cents in on these two topics:

1. the statement i once saw, made by someone, who, i’m not sure, was reading the same novel as i am. it went somewhere along these lines: “the novel implies that in his first life wei wuxian wasn’t interested in lan wangji or even in men at all”

2. the general idea that wei wuxian (specifically novel!wwx, i mean, obv all of this is just about novel!wwx or novel!lwj) is oblivious dummy, who can’t see what’s happening in front of his own nose, doesn’t understand not only lwj’s feelings towards him, but also not even self-aware enough to understand his own 

(idk if it was obvious from my previous posts on this website, but i’m a wei wuxian apologist so you should probably know that before i proceed)

i’m gonna quote the paragraph that prompted me to think about all this, it’s worded a bit differently in russian, but the point still stands:

Although in the past few days, he felt that Lan WangJi probably regarded him highly and differently from other people, he’d never dared to guess just how ‘highly’ it was or if ‘differently’ was the kind that he thought. Wei WuXian never thought of being confident as bad, and in fact prided himself on such a thought. Legends often gossiped about the YiLing Patriarch’s allegedly amorous life, but in reality, he’d never experienced such hectic feelings before. He used to think that Lan WangJi was too easy of a person to understand, but things were different now. He feared that he was the only one who thought of them that way, that it was all his own wishful thinking, that he was too confident for his own good.

lets start with the first statement and go waay back in time. first of all, the idea that wei wuxian wasn’t interested in lan wangji is kinda ridiculous to me, as this boy spent the entire time he was in gusu summer camp trying to get lan wangji’s attention, annoy him into friendship with him, he gifted him rabbits goddamnit. he had a whole fanclub of boys going on in gusu summer camp, he had girls in the nearby town swoon by him, and yet he focused his attention on lan wangji, but clearly he wasn’t interested, right. 

and then during sunshot they kept arguing and having bad experiences with each other, and yet wei wuxian couldn’t stop himself from being drawn to lan wangji, initiating conversation, that situation with the headband, that time he invited him to the inn. considering that every one of their encounters would end pretty badly, there was no reason for him to try again and again to build that friendship that he told himself wasn’t even possible. and yet he kept trying, and then in yiling he invited lan wangji to have a dinner with him, but of course he wasn’t interested. 

second of all, and it kinda bothers me a lot, actually, he wasn’t interested in men in his first life? yeah no shit. for starters, how old was he? 15? 17? you know, not all of us came to terms with our sexuality when we were digging up shit in a sandbox. it can happen later. it can happen much later. but what caught my attention in that paragraph i quoted above “but in reality, he’d never experienced such hectic feelings before.” was wei wuxian not interested in men in his first life? sure! according to the novel, he also wasn’t much interested in women! was it ever a consideration, that perhaps, for a teenager going through war and also shitload of other terrible events, romantic endeavors might have not been a priority? sure, he had an image, he had a reputation of a shameless dumbass to protect, but do we not know it was a pretence? it’s almost like characters like nie huaisang don’t exist. 

but also specifically for a teenager who was already experiencing his first crush, that he didn’t acknowledge much, because, once again, he had a lot of other shit to worry about

this brings me not very smoothly to the second statement. and i wanna start by giving some more credit to wei wuxian (who isn’t as dumb as he sometimes seems) and take some credit from lan wangji (who is a bit dumber than i thought he is), which brings them to the same level of idiots in love. 

wei wuxian doesn’t understand what lan wangji is feeling towards him. yeah. to be fair, adult lan wangji did a lot of things, some of which were more obvious than the others. but lan wangji wasn’t always like that. if i recall correctly, he spent almost the entirety of gusu summer camp rejecting wwx’s attempts in friendship, being an asshole and just plain rude (yes, wwx also was rude, but still) (yes, on the inside lan wangji was panicking in gay, but on the outside he was Just Rude, and WE know that, wei wuxian doesn’t). in the cave? lan wangji is overwhelmed and once again kinda rude to wwx, and he bites him, and again, WE know that lwj is probably going through a lot, wei wuxian knows less. moreover, later in the novel there is some more context given to why wei wuxian reacted like that to being bitten by lan wangji, our guy is straight up scared of being bitten, because he associates biting with dogs. they both were having kinda a shit time in that cave and i can’t blame them. during sunshot lan wangji was constantly arguing with wei wuxian and pretty openly dissaproving of his ways that he didn’t understand for obvious reasons. none of this says “i’m your friend and also i’m in love with you and i’m not actually trying to control you or reject you, i just don’t know what else to do”

and every time lan wangji would master his bravery to do something that would make his feelings more obvious, he would do it while wei wuxian couldn’t possible know that lan wangji was doing it. (e.g. singing wangixan to him in the cave while wei wuxian is out of it because of the fever, kissing him while he’s blindfolded). and the last chance in wwx’s first life that lwj got to confess his feelings, wei wuxian was simply not in the state to remember it or even process what was happening at all. 

coming back to his second life, wei wuxian actually becomes aware of his own feelings. not immediately, but dude was just dead like a few days ago, give him some time. and it’s not that he doesn’t notice that adult lan wangji now treats him differently, and certainly not how he treats anyone else, wei wuxian is straight up just afraid, without a direct conformation, that he’s still misunderstanding something. and taking in consideration all that i said previously, i can’t blame him. if any of these two could actually use their words, and ask questions they wanted to ask, this whole mess could have been avoided. but lan wangji can’t be direct (he doesn’t want to impose), and wei wuxian can’t trust indirect hints (he puts lan wangji way above himself and doesn’t believe hanguang-jun could get down to “his level”). 

and so they operate on this perfectly dysfunctional system of “i’ll just carry on with my own agenda, hoping for nothing in return” and also:

wwx: i’ll get him drunk (if he wants to get drunk) to just ask a few questions that i can’t ask while he’s sober

lwj: i’ll get drunk to be a little bit more free around wei ying, as i can’t be like that while i’m sober and i won’t remember it anyway

and, surprise, it doesn’t help their understanding of each other’s feelings. it doesn’t mean that wei wuxian is that oblivious, it just mean that things can’t work out like that, you need to TALK sometimes. (i didn’t get there yet, but thank god for lan xichen). in fact, that terrible system of communication makes things worse and i’m pretty sure the novel is being very clear that it wants you too to understand that it makes things worse.

their terrible inability to communicate properly results into that chapter that i just read. they operate in the previously learned patterns: wei wuxian buys alcohol, cause he wants to ask lan wangji this important question, lan wangji gets drunk, cause he doesn’t want to be present in this reality (relatable) (drinking to forget is bad, kids), and shit goes down. 

wei wuxian doesn’t want to take advantage of drunk lan wangji, but then he gets carried way, and drunk lan wangji gets carried away and things happen. and by the end of it, both sober, they BOTH think that they forced the other one to do something he didn’t want to do and they both feel terrible about that. (once again, i’m pretty sure that the novel is very clear about how it’s actually bad to have sex with someone blackout drunk) so wei wuxian ends up thinking that he took advantage oh lan wangji who wasn’t in control of himself, lan wangji thinks that he lost control of himself and took advantage of wei wuxian who didn’t protest out of gratitude to lan wangji (his worst fear, btw). 

i got slightly carried away from my original topic, but it just pisses me off that someone looks at this and really thinks that the novel is glorifying this behaviour or whatever. it’s terrible, they both feel terrible, the novel is yelling at them to talk instead of getting drunk and fucking. 

so yeah, wei wuxian isn’t that oblivious. but that situation doesn’t clear anything out, actually, because by the end of the day lan wangji sobers up, and wei wuxian sees his reaction to what happened, which was not a good reaction, and how is he supposed to understand lan wangji’s thought process correctly if he never says anything?  so wei wuxian ends up thinking that yeah, he gave in to his own wishful thinking, and terribly terribly fucked up (i mean, he did fuck up, but not as much as he thinks). 

idk how to end this so i just hope my point came across as i intended it and i’m just glad it’s all out

[rachelbethhines]

TTS Songs Ranked Worst to Best

Someone asked me to rank my fav and least fav TTS songs a while back, but I’ve since then relistened to the soundtrack and there’s a whole bunch of songs that just forgot about, so here’s a more accurate ranking now that the songs are more fresh in my mind

32 .  Life After Happily Ever After (Reprise)

This song is infuriating, because the finale is infuriating. Listening to this song just makes me angry all over again because it reminds me just how unsatisfying the ending to TTS was. I wanted to turn it off at several points. I barely can get through it despite it being so short. It doesn’t help that the soundtrack leaves all the dialogue in there and fails to actually end the song. It just cuts off before the final note.

31. Hook Foot’s Ballad

Does this even count as a song? Why is it here on the soundtrack but not the Hurt Incantation? Did Menken really waste his talent writing a joke and did the showrunners really waste money and limited resources on this?

30. Friendship Song

Bland, boring, and pointless. It was clearly written as a marketing stunt for the radio disney charts and not as anything to do with the plot of the series. They just throw it up on screen to fill out the running time and don't even let the whole song play through. It’s pitiful.

29. Waiting in the Wings (Reprise)

I didn’t think much of the original song one way or the other, but the reprise is soooo dumb. The plot twist it introduces winds up ruining the whole show and sabotaging both Cassandra’s and Rapunzel’s characters. It’s not even a nice sounding song on it’s own. The kid’s voice is irritating (who I’m sure is doing her best, but really little kids shouldn’t be made to sing professionally as a general rule) and the melody just as bland as the first time it was played. The only reason to like this song is if you’r a mega fan of Cassandra’s or her VA, which I am not. (Note: this is not a criticism of Eden Espinosa, I just don’t happen to follow any of the VAs in this show)      

28. Through It All

I like the instrumentals in this song, and that’s about it. Everything about this song is wrong. It doesn’t fit the story, it’s a misuse of the cast and songwriters, it’s a waste of valuable screen time, the melody is dull, and the dang soundtrack had to throw in that lame dialogue about ‘greatest threat ever’ at the beginning. If you want a pump up song in your story then you got to earn it. You can’t just tell us things are bad, you got to show it. A joyful horseback ride and everyone sitting in a bar safe and sound isn’t threatening or depressing enough to warrant a cheering up session. Plus the song itself doesn’t add anything to the overall story.

27.  The Girl Who Has Everything

Sometimes I think the writers were willing trying to sabotage themselves. It’s as if they were determined to make the only two main female characters in the show unlikeable bitches in season three.   Don’t believe me? The creator Chris has said this song only exists to highlight how much easier Rapunzel has things than Cass and went onto say that Rapunzel was in the wrong during their conflict because ‘she held Cassandra back’. (Oh yeah she totally ‘held back’ the grown woman who left on her own accord, returned on her own accord, and then assaulted and tried to murder a bunch of people for no reason of her own accord.) But this song does succeed in furthering season’s three narrative that Rapunzel is a spoiled selfish brat. Shame the story fails to address this setup and never has Rapunzel learn to be a better person. Rather the narrative bends over backward to tell us how special Rapunzel is without any sense of self awareness and this song falls into that same trap; making it both irritating and pointless.

26. Listen Up

Yeah, I talked about this on my salt marathon, but I just don't like this song very much. The melody is fine but the lyrics are a real miss in my mind. It doesn’t help matters that the song is indeed pointless in the grand scheme of things.

25.  Livin’ the Dream

This is much on the same level as Listen Up as it features the same problems. It doesn’t add to the narrative and the lyrics kind of let it down. I placed it higher just because I like the melody a little more.

24.  More of Me

This song is a lot like the Friendship Song in that it was created to be an end credit song for the pop charts and you’d be forgiven in forgetting it even exists. However, it at least got to actually play all the way through. I think this song was a real missed opportunity. I honestly believe that it should have been the opening theme song of the show instead of Wind in My Hair. It’s more built to serve such a purpose and it’s a waste of resources not to actually use it. Alternatively, I would have accepted it being reworked into the actual series as a character song. Especially since we’re missing a song in season three due to budget cuts.  

23. Wind In My Hair

Speaking of theme songs, I think I would like Wind In My Hair a lot better if i didn’t have to listen to it every episode. On its own it actually has a lot of things going for it; a nice melody, interesting instrumentals, good singing, ect. Unfortunately it’s just over exposed, and none of those elements lend themselves naturally to an intro song for a tv show. In fact the theme song feels really out of place and is edited oddly to fit the shorter intro. 

22. Wind In My Hair (Reprise)  

Honestly the theme song is mostly comprised of this reprise, but it has the opening instrumentals from the OG song frankensteined onto it. This means that the version that plays before every episode is on fullblast all the time to keep the energy up, but that’s not how the song is suppose to go.  The actual reprise that plays in the pilot builds to a crescendo, starting soft and melancolony and getting louder and more hopeful and determined. It sounds a lot better in full because of that.  It’s still too overexposed though. Both these songs would probably be higher on the list of not for the theme song version. 

21. With You by My Side

This song is fine. It’s nothing special, but it’s not bad either. What knocks it down the list is the fact that Lance isn’t in it, despite Lance being right there.  Like don't bother hiring a famous Broadway singer if you’re not going to have him sing!  But that speaks more to the poor writing of season two than anything else. This song also doesn’t really add anything to the narrative as, contrary to what the writers intended, it doesn’t actually enhance the emotional impact of Cassandra’s betrayal later in the episode. The song itself is just tacked on and doesn’t take the opportunity to lay down any foreshadowing for that plot point.  

20. Next Stop Anywhere

Another perfectly serviable song. It’s not bad but nothing outstanding. It gets the job done. It’s also really ho-hum and the soundtrack keeps all the unneeded dialogue, which is a pet peeve of mine. 

19. Waiting In the Wings

Despite it’s hype, I never thought much of Waiting in the Wings. It’s got nice instrumentals and Eden Espinosa gives it her all in the singing department. The problem is it’s too generic. It’s a bare bones basic ass ‘I want song’. Cassandra's movations are weak and unsupported by the narrative, the melody is boring, and it honestly doesn’t add anything to her story. I mean it should, it’s her character solo, but because she’s written so poorly the song just winds up undermining the character in the end.   All I’m saying is that, this is not the song from season two that I would have nominated for the Emmys. But it’s still Alan Menken, it’s still nicely performed, and given the rest of the competition for that year, it did deserve to win. 

18. If I Could Take That Moment Back 

This song is also pretty generic, but it’s less boring than I See the Light, (yeah, I said it, I See the Light is boring) so that’s a win in my book. Ergo this holds the title of the only New Dream duet that I enjoy. But there’s better stuff on this list. 

17. Next Stop Anywhere (Reprise)

Well no, I take that back. The reprise of Next Stop Anywhere is also technically a New Dream duet. It’s still not anything amazing, but it works for what it is. Plus, Adria’s opening dialogue in the soundtrack version doesn’t bother me quite as much as some of the other dialogues choices that were kept in.  

16. Stronger Than Ever Before 

I really enjoyed this song in the moment. It’s catchy and fun, and it finally has Lance doing something rather than ignoring his existence. However it is borderline unnecessary in terms of story placement, and I’m slightly mad at it now that I know that we could have gotten a Rapunzel and Varian duet but it was scrapped for this instead.   

15. Crossing the Line

Keeping with the theme of ‘songs I have conflicting emotions about’, we have Crossing the Line.  This song is confused. It starts and stops, the melody isn’t clear, the orchestration is playing tug of war with the singers for dominance, and it’s basically Alan Menken and the show’s creators ripping off Frozen. (I guess he’s kicking himself for leaving that particular project?)   But it’s interesting. I never heard anything quite like it. It’s memorable even if it doesn’t fully work. It’s got these interesting bits and pieces to it that just never quite comes together as a whole. Some of the lyrics are some of the best Glenn Slater has ever wrote and is far better than the story actually surrounding the song. Yet there’s other lines that are total cringe. Sometimes the song is bold and catchy and gets you all hyped up, and then other times its limp and staggering and feels so awkward to listen to.  Yet it’s not boring or generic and so I have to place it higher than the rest of the songs that’s come before. (Also, there’s some amazing orchestral covers out there that really pulls together the various parts really well, just fyi) 

14.  Nothing Left to Lose

I really don't like this song.  I’ve been one of its biggest critics ever since it was leaked by the marketing team earlier this year.  And yet... I can’t in good conscience place any lower on this list.  All of the problems I have with it are the exact same problems I have with Crossing the Line. It’s confused, the various pieces don't line up, the instrumentals are competing with the vocals, the song’s progression is weird with it’s constant key changes, some of the lyrics are good while others are absolute shit, ect and so forth.  It also actively works against the story it's trying to tell. The song wants you to sympathize with Cassandra, but her lines are as shallow as a puddle and makes her look like a sociopath. Especially when she’s physically attacking Varian through out for no reason. Also neither character learns anything from the exchange and it fails to impact the story.  By all accounts this is a bad song.  But I’m Varian trash.  There I said it. You happy?  Varian’s parts in the songs are fine, good even, and the song is anything but bland. I would rather listen to a mess then be bored to tears by a competent yet standard four chord pop song. 

13. I’d Give Anything

This song is nice to listen to. Story wise it absolutely sucks and shouldn’t have been in the finale at all. But it sounds pleasant.  This is one of those songs that could pop up randomly on the radio and I would just think it it a nice sad break up song. I can’t say that about some of the other misplaced songs in the show. This one however, you can very much, absolutely divorce this song from the narrative and it would be fine.  Now that’s not good writing, and it’s very much a waste of limited resources, but I’m rating the music here first and story second. 

12. Buddy Song

The Buddy Song also absolutely did not need to exist but it also sounds nice. Plus, it makes use of Lance so I’m a little more lenient towards it.   I can’t however place it higher since it really is just Alan Menken ripping off Alan Menken. Like, I would not be at all surprised to find out that this was originally a deleted song for Aladdin or something.  

11. Bigger Than That

What can I say, Lance just gets good songs. When the show bothers to give them to him.  Unfortunately, it’s not the best placed. It kind of interrupts the more important drama of Be Very Afraid, and probably should have been saved for a later episode. Especially since it hinges on a plot point that is contradictory to Lance’s character.    We should have gotten a Varian and Rapunzel duet here and given Lance his own episode in the second half of season three. This song could have easily been refitted into being a bonding moment for him and the girls. That would also have filled out the season’s original songs to the usual eight instead of only  seven.

10. Life After Happily Ever After

Now we’re getting to the good stuff. The top ten. The best of the best.  This song makes the cut for three reasons.  1. It lyrically and musically interesting 2. It does the job of furthering the story and the characters  and 3. Eugene’s part is so damn good.  Like this song could have easily fell down into the ranks of ‘fine but generic’ if it wasn’t for the bridge with Eugene. That puts it over the top and to my mind makes it better than anything from the OG film. (well almost anything, Mother Knows Best is still great)    This is the barometer by which I measure all of the music in the series. Is it better or worse than Life After Happily Ever After? Because this is the level that I equate good musicals with.  What keeps on the tenth spot and not higher is the dialogue that still left on the soundtrack and the lack of a Cassandra introduction. That and also the rest of the songs are just flat better. 

9. Hurt Incantation 

Hurt, Decay, Reverse, whatever you want to call it, this was such a cool fucking concept. One that was utterly wasted by the show.  I place this so high because it just sounds awesome! It looks good too, and it offered up so many possibilities from a story perspective.  What lets it down is the lack of follow up for it and it’s too short. There’s needed to be another verse. It also should have been on the actual soundtrack instead of  Hook Foot’s Ballad.  (The Heal Incantation also was sung in What the Hair, but I’m not counting it since it was written for the film) 

8.  The Girl Who Has Everything (Reprise)

I hate the initial song and the set up that it took to get here, but I love this reprise. It’s perfect. This is what the story needed more of. Rapunzel taking her life into her hands, and her proposing to Eugene would have been the perfect capstone for her arc.  In fact I’m angry we didn’t actually get that. There’s absolutely no reason why Rapunzel couldn’t have done so and we could have had her and Eugene engaged during the second half of season three. How much better would have it been if Cassandra threatened their wedding plans and that’s why they couldn’t go through with it until after the series ended? So much more tension that way. 

7. I Got This

This is a really good song that actually futhers the characters and the narrative. Moreover it’s refreshing to see the heroine not be perfect and to fail sometimes due to her own inadequacies. It’s just a shame that the series didn’t follow through with this set up, but I appreciate the attempt all the same.   

6.  Set Yourself Free

This is the only song in the series that’s an actual satisfying pay off for anything. Music wise it’s nothing too special, but in terms of context it just works. We were sorely deprived of such resolutions and songs with actual meaning in the show. 

5. View From Up Here

This song is too good for the episode it actually appears in. We needed something like this back in season one to introduce Cassandra with. It also sadly doesn’t fit with the wider narrative after season three. However I shall still appreciate it as a ‘what might have been’ type song. 

4.  Let Me Make You Proud 

The only reason why this song isn’t higher is just overexposure and I’ve no one to blame but myself for that. I’ve listened to this song way too many times. As such it tends to alternate between this, View from Up Here, and the next song on the list. But make no mistake it is glorious. Fantastic instrumentals, set up, and of course amazing vocals. 

3.  Everything I Ever Thought I Knew

Yes, I know this plot point didn’t lead anywhere, but it works for this song at least. Also Eugene’s VA is a really underrated singer. He sounds nice and he emotes really well.  Though I’ll be honest, this jumped up to third place because it was fresh in my mind after listening to the soundtrack before making this list. I’ve always liked the song and I do rate it highly, but it can change places with Let Me Make You Proud and View from Up Here at anytime depending on my mood. 

2.  Let Me Make You Proud (Reprise)

This song is heartbreaking!  Story wise it probably shouldn’t exist because it gives away the twist too soon, but who cares, it’s awesome!  Varian’s arc is the most compelling in the show and the only thing that saves TTS from falling into mediocre obscurity; and it’s songs like this that help make the arc stand out even more than it already does. 

1. Ready As I’ll Ever Be

I said it before and I’ll say it again; Ready As I’ll Ever Be is the greatest thing Alan Menken has ever written in his entire career!  If you know anything about the multiple award winning songwriter then you know that is no faint praise and I do not dole it out lightly.  This song is the reason why this show even has a fanbase. People are still getting into the series because of this song. And no matter how many times you listen to it just rocks!   It’s complex, layered, moody, and with a fantastic beat and energy. The performances are wonderful and the instrumentation glorious. It belongs in the hollows of Disney’s greatest hits and not regulated to a spin-off tv show that failed to make its money back.  I weep for the lost potential that this song and this show had. It hurts to know that so many people will never see this flash of brilliance that has come out of the House of Mouse, will never know the wonderfulness that is Varian.  Ah, ‘c'est la vie’, I suppose. Tangled the Series got what it deserved, but it's crew did not. While I can not in all honesty recommend the series in full; I do sincerely urge any Disney fan to check out the songs at the very least. Especially this one.  And that’s it. There’s my official ranking of all the songs, and I hope those of you read my Tangled reviews appreciate the hours it took into making this.