#again let me be clear that this is my personal interpretation and while I think it's well-supported it is not exactly confirmed canon lmao

[tinylongwing]

Vide Noir's dual narrative structure

All right, here it is, me making good on at least one of my meta threats. Lord Huron's album Vide Noir can be interpreted as an album with two parallel, contrasting narratives - that of the lead protagonist Buck Vernon, as well as that of Johnnie Redmayne.

Disclaimer: this is an interpretation I think is pretty sound and well-reasoned, but I make no claim to any of this being proven canon information.

---

For those unfamiliar or who need a reminder, the primary narrative is this: the year is 1967, and we start near the end of Buck's journey, as he awakens from being black-brained (Lost in Time and Space). Having just suffered an overdose on the drug vide noir, his memories are slow to return to him, but return they do - his fiancee, Leigh/Lee Green (from here on Leigh but both spellings have been used), left him without a word one night, and he decided to follow, heading west to Los Angeles from their home town of Detroit, Michigan. He's been struggling to find her, checking every bar in the city in case she was booked to sing at one as her move was the result of her chasing her dream of becoming a singer. He doesn't remember a lot about himself, really, after that overdose, but he remembers her, and his love for her makes him desperate to find her.

We're then taken back to the night he left to find her (Never Ever) and his journey is mostly linear from there - he meets a fortune teller, Lady Moonbeam, who tells him that pursuing Leigh will end in his ruin, but he refuses to accept her advice and pushes on (Ancient Names I & II). He laments that he's been some kind of fuckup, that maybe he chased Leigh away through his own behavior, but that he still loves her and begs for her to return (Wait By the River). At some point around here he also learns of the drug vide noir and contemplates using it himself for clues.

(Note that unlike in the movie, in the album, nothing suggests that Buck suffered from a murder attempt by Z'Oiseau's henchmen but that instead he may have overdosed himself in an attempt to find Lee. However, there's plenty of reason to suspect that the film is the canon interpretation here anyway and the henchmen kidnapping Buck just doesn't make for a song I guess.)

One way or another, he winds up black-brained, where some deep existential truths of the universe are revealed to him (Secret of Life - namely that everyone and everything dies in the end, and that a human life is brief, fleeting, and ultimately meaningless within the context of the universe as a whole). He somehow reawakens rather than dying (Back from the Edge) and, again, understands that nothing he does will ever matter, has never mattered*, but that *even though* he's suffered greatly already on this quest, he's still committed to trying to find Leigh, pitting himself against that careless universe (The Balancer's Eye).

So he keeps searching (When the Night is Over) until he finds a clue, or a helping hand of some sort, that leads him on the right path to his beloved Leigh (Moonbeam). We get one more reminder of the forces at work here - vide noir is some awful stuff, it nearly killed him, Leigh herself is hooked on it now, it shows you terrible truths and nightmares beyond human comprehension (Vide Noir) - and when all is said and done, as Buck thinks he's about to "rescue" Leigh from her fate and bring her back to his fantasy of a perfect happy life together, she rejects him. He came all this way through time and space, and she doesn't love him at all in the end (Emerald Star).

---

I consider this the primary narrative here because it makes use of all the songs on the album, it has a clear start and ending and a mostly linear structure, and the album basically serves as a soundtrack to Buck's fool's errand. The film agrees - every scene is centered around his journey, after all. But we have context from Lord Huron's other albums, as well as the lyrics and musical stylings of multiple songs on Vide Noir, that show us that Buck isn't necessarily the only narrator on this album. Strange Trails, of course, came out three years prior, and features songs by multiple fictional bands performing songs which serve as narration for a diverse cast of characters. Unlike on Strange Trails, where each track has a writer or band specifically named and assigned to it as well as a character narrative, Vide Noir does not give us such conclusive information, but we can still put clues together to understand at least some of who the in-universe performers might be on Vide Noir.

Most likely, multiple of these songs are by the Buck Vernon Band - this is pretty obvious. Buck's semi-autobiographical music is all over Strange Trails, usually referencing a girl he loves, sometimes referencing that the girl left him, often giving her different names, all starting with L (Fool For Love's "Lily", and "Louisa").

But the other band that we can easily identify as performers on Vide Noir are the Phantom Riders. For those who need an introduction, this is the band composed of four members of the World Enders gang, with Dale Redmayne at the helm as lead writer. They were seen previously on Strange Trails as well, with banger surf/rockabilly hits like Hurricane, Until the Night Turns, and The World Ender. As a storytelling tool, they are primarily brought in to tell us about the man-turned-undead horror entity known as The World Ender himself, and then otherwise mostly we get their songs about Dale's brother Johnnie Redmayne, who is introduced to us in Strange Trails as a fun-loving and presumably fairly young guy, a thrillseeker and hedonist, who lives for the moment as if the world could end any day. The Buck Vernon Band jumps in between some of these songs with an interjection to tell us that wait, Johnnie is dead, or was, but he got back up. In Dead Man's Hand, Buck speculates that Johnnie could have been murdered or may have killed himself, accidentally or intentionally, upon first seeing him. It's in Vide Noir that we actually learn more about the circumstances of Johnnie's death.

Before we get to that, let's first identify which Vide Noir songs are by the Phantom Riders. This isn't all that hard to do. Any song that references The World Ender is presumably theirs - that gives us Secret of Life right away ("I sit alone in the dark, and I try to remember the words you spoke when you summoned the Ender"). This is reinforced in the Alive From Whispering Pines webseries, episode 423 - Secret of Life, when played, shows a skeleton prop the band has jokingly referred to as Cobb Avery on their social media posts in the past, and after the song ends in this episode, the tune continues in a slowed and distorted fashion through a clip of a WBUB movie version of Dead Man's Hand showing Johnnie rising from the pavement when Buck is about to bury him.

Ancient Names Parts I and II are presumably written by the same band as a two-part song. In the Vide Noir film, the Phantom Riders are performing Part II in the underground club. Additionally, in Alive From Whispering Pines episode 426, after Tubbs Tarbell is done reminiscing about the band and their nihilism, Ancient Names Part II is the next song covered - and often in this series, the structure of the segments between songs are intentional and related to either the song they precede or the song they follow, so it's likely that the placement of the Phantom Riders' appearance followed by a track they're associated with is meant to help confirm them as the performers. In addition, Ancient Names Part I references a fortune teller, and we know from the film that the fortune teller in question, Lady Moonbeam, is associated with the World Enders and knows the Redmaynes.

The last track on Vide Noir that is most likely theirs is the title track, Vide Noir. We have two points of evidence for this - one lyrical ("Many evils have I enjoyed, prowling the night raising hell with the boys" which feels like a pretty direct reference to the World Enders' nighttime violence) and one musical - the main melody of Vide Noir is identical to that of Ancient Names (and Fortune Teller's Theme, actually). In Strange Trails, using the same melody for multiple songs was an easy way to tie Frankie Lou's songs together, and here we can see that it ties two Phantom Riders tracks together directly, indicating that not only are they both by the same band, but that Vide Noir is a followup to Ancient Names part I, in which our fortune teller did warn us things would go very, very wrong.

(And besides all of that, the Phantom Riders tracks on Vide Noir all tend to be similar in musical style - psychedelia-flavored garage rock with a heavy bass line, in contrast to other songs on the album.)

With those songs identified, we should also be aware of just how much Lord Huron seem to love their dual narratives. In Strange Trails, we have a really concrete example of this with The Night We Met. This song was in-universe written by Frankie Lou, presumably about her doomed relationship with Z'Oiseau and how much she wishes she had never met him to begin with (as she echoes in her dialogue in the Vide Noir film when speaking to Buck in her dressing room). However, the music video for this song shows not Frankie and Z'Oiseau, but instead Buck, driving west, while reflecting on his own failure to keep Leigh, wishing he could go back in time and fix things, and meanwhile kind of hallucinating her as he goes. In the album Long Lost, we get another dual narrative in I Lied, which is performed by Donny and Midge but is also sung by Leigh in Vide Noir, foreshadowing her breakup with and lack of love for Buck. There are certainly other dual narratives in both of those albums to be found as well - so what we should keep in mind here is that often, songs can be written and performed by a character or band in order to narrate for themselves or someone close to them, but that just as in our real-world movie soundtracks or our favorite character playlists on spotify, those songs can be applied to other characters in different (but somewhat similar) situations than the ones they were written for.

So! We have four Phantom Riders tracks on Vide Noir, all of which were presumably not written originally in-universe about Buck Vernon, because why would they be, Buck and the World Enders only briefly cross paths and at the very least we know that Ancient Names Part II was written well before he ever met them. Instead, it makes the most sense if like the bulk of the Phantom Riders songs, these tracks serve Johnnie's narration instead.

---

If that's the case, what does that give us? Winding around and through Buck's journey is this second storyline. Johnnie Redmayne, having used and enjoyed vide noir himself abundantly ("I had a vision tonight that the world was ending" as one probable example), decides it's time to get his hands on bulk quantities so as to get the Enders in on controlling the flow of the drug in LA rather than letting Z'Oiseau maintain a monopoly, thereby also increasing revenue for the members of the gang.

It's Moonbeam who warns him to knock it off first. We know, thanks to the film, that he'd spoken to her at some point about his plans to investigate the source of the drug at Tobey's arcade and try to get his hands on some to sell. Whatever his exact plan was, in Ancient Names Part 1, Moonbeam warns him that pursuing this is going to get him killed. Vide noir isn't just a drug, it's something extremely dangerous, tied to dangerous people, and he needs to get away from "her" (and note that frequently throughout music history, drugs have been personified as a "her" or an unnamed lover, whether for poetic reasons or to evade censorship that might come from talking directly about drug use - and Cursed, off Strange Trails, is one more in-universe example, where "her" refers both to Leigh Green and to drug use, specifically vide noir).

Immediately afterward, Ancient Names Part 2, in addition to serving as a very classic sort of World Enders nihilism anthem, can easily be interpreted as Johnnie saying "fuck that, I do what I want, you only live one life anyway and even if it kills me, I want to make my mark before I go out." Death is something hypothetical - sure, it'll get him some day, it gets everyone, and maybe Moonbeam is even right, but he isn't going to let her warning stop him.

On Strange Trails, Buck and Johnnie cross paths at Dead Man's Hand. On this album they only cross thematically, and the pivotal moment of intersection might be Secret of Life. This song may be the point at which Buck learns some forbidden secrets revealed by taking vide noir as discussed above, but its lyrics speak a lot more specifically to Johnnie's experience, implying some connection between him, vide noir, and the World Ender.

It may be that as we see with Buck in the film, perhaps Johnnie too has suffered the effects of being black-brained prior to taking it due to the time and space-bending effects of the drug (notice, for example, in Strange Trails we get Johnnie's story in a scrambled chronological order) and here he's confronted with the harsh truths of what those past visions of his possible future mean for him: he has been set on a path that is no longer avoidable due to his eventual future overdose. So perhaps it's at this point that he acknowledges that he is going to die sooner rather than later and that his life and death will not have meant anything to the greater cosmos, but this information, which was new to Buck, is not something Johnnie fears. Johnnie is hardly new to this point of view. He's seen past echoes of the knowledge imparted by vide noir throughout his life, both in his future visions of the end of the world (again see Until The Night Turns) and in the knowledge passed on through other World Enders, including their own motto ("The fair, the brave, the good must die", or in Secret of Life here, "The darkness comes for all of us").

(As an aside, there's still a lot to unravel with Secret of Life that I haven't touched on here. It's a fascinating song with some really mysterious lyrics. I've speculated at length in the LH discord about some additional interpretations this song could yield but won't veer off topic here.)

And yet despite what looks like a very certain and dire end, Johnnie maintains hope that perhaps he, too, will live past this. Because if Cobb Avery did, why can't he? This is part of the gang's core mythos - their founder is a dead man. He clawed his way back out of the grave for revenge, they thought it was just so fucking cool that he was unkillable that they had to join him, and together they dismantled the Winthrop Corporation, one murder at a time. When the police finally caught up to him, they lynched him - but the noose did nothing, for he was already dead, and now in the form of a skeleton, he called the gang to his side (see Strange Trails: The World Ender comic book). In the ensuing chaos, he flees, the gang heads west and relocates to east Los Angeles, and in the time contemporary with the events of Vide Noir, he is still present among them but this appears to be unknown to the public (Daily Trails prop, by Kim Berens, used in both Vide Noir and Alive From Whispering Pines where it was modified to Ten years later).

Whether The World Ender is readily visible to and known by most members of the gang at this point is unknown, but we know that those who were black-brained can see him (in the film, Buck sees him approaching, bumps into him, plunges into a hallucination of his own future, and when he comes too, the Ender is gone). Given the Secret of Life lyrics, it's reasonable to guess that Johnnie at least can see the World Ender just fine and one way or another, in speaking with him and in conjunction with consuming vide noir, has learned enough secret knowledge to make some kind of choice - and this is what later enables him, too, to drag his way back to the world of the living.

Fate catches up to Johnnie and as we learn in the film, his death was at the hands of Z'Oiseau's henchmen for trying to gain access to dealing in vide noir. Like Buck, he is black-brained - forced to swallow enough of the drug to kill him. And so the track Vide Noir opens with the Fortune Teller's Theme previously heard in Ancient Names Part 1, and that tune is woven through the track - Moonbeam's "I warned you, I told you so" to both of these fools who disregarded her advice. Although, again, the lyrics are clearly meant primarily to narrate for Johnnie - "Many evils have I enjoyed, prowling the night raising hell with the boys, getting high on a pure black void" sounds a lot more like what Johnnie gets up to than Buck. We are given a glimpse of his last words and final thoughts as life slips away and his consciousness is sent straight to the final edge of the cosmos.

---

So ultimately, this is what we're left with:

Vide Noir is an album that tells the story of Buck Vernon, whose fiancee has left him. His journey culminates in a near-brush with death, in finding Leigh, and in learning that she does not love him and that he's nothing, his life is worth nothing more than dust and that none of it mattered or will ever matter, that once he eventually dies he will vanish and be forgotten in time.

Vide Noir also tells the story of Johnnie Redmayne, who for once tries to do something that isn't just for his own hedonistic pleasure but that might actually help bring in money to support his friends and family, but he's too headstrong and impulsive to listen to the warnings he's given, and is killed in the attempt.

One lives who probably shouldn't have and comes out at rock bottom and now has to work out how to move on from here, and one dies a nihilist who should presumably just accept the inevitability of death, but has the knowledge and absolute stubborn determination to enable his eventual return, following in the footsteps of Cobb Avery.

And what happens to both of them afterward? Well, we don't know. Hopefully some day (SOON?? BEN PLEASE) we'll get the opportunity to find out!

[sangre-luz]

Hello! It’s me again. I have one more question.

what about their personalities? how different are their personality traits from the original characters? for example in reverse falls, ford was more sadistic, manipulative, calculating, cruel and power hungry. dipper was also more arrogant and calculating, and mabel was unhinged and evil. So what about your characters?

Welllll…. Lets see…

Here’s some more of my Dilation Falls AU, now with a past young Grauntie Mabel and a current Grunkle Dipper + a screenshot edit of the Stan Twins to accompany this and this

Some lore drop on their personalities and the AU itself

In Dilation Falls, our two protagonists, the Stan Twins, are sent up to Oregon in the summer of 2012 after Stanley breaks Stanford’s perpetual motion machine for the science fair project. Instead of kicking Stan out, their father angrily wants to send Stan away for the summer to mull over his actions, but Caryn convinces her husband to send both of them (of course, to hopefully hash out their issues.)

The dynamic between Stan and Ford is immensely broken at this point. Ford is so, so angry at Stan, and Stan can’t help but feel guilty. In his twins eyes, he had broken his trust and ruined his chances of attending his dream school. The two have the same personality in the beginning of the AU from their teen years in the OG show: Ford is smart, responsible, and can be rather serious, but is still immensely interested in the weird and paranormal. Stanley is playful, childish, a jokester, and hopeful.

Their Grauntie Mabel is exactly as you described- unhinged, but a bit calmer as she has smoothed out over the years. She’s still chaotic in nature, but to a lesser degree, and has learned how to use that control over the masses. She’s a perfect scam/con artist, but is still deeply devoted to her family. She and Dipper complement each other well. While Dipper works in the shadows- who I can only describe in this AU as a manipulative force of nature, egotistical, deeply prideful and a bit of a megalomaniac, Mabel works as the face of their Pines business, a cunning businesswoman who isn’t afraid to use her demon to gain control of any situation :^)

Unlike Stan and Ford, I believe Dip and Mabel have a rather strong bond like in the OG series. Even if they are prone to fights and may clash often, they always forgive each other. Family is a very strong theme in the original show and of course, is the main point of this AU as well.

As the story goes on, I think Dipper would entrust Ford with Euclid, his own demon, and Mabel would entrust Stan with Scalene, her demon. It’s this that begins to bring the Stan Twins closer, but it’s also a plot point that separates them further because it’s clear the older twins are showing favorites. As for our demon parents, Euclid is constantly scarring Ford and rebelling against him during possession, while Scalene is more passive after attempting to rebel against Mabel ~30 something years ago. Her personality in this is more akin to the fandoms interpretation of Will Cipher. So, yes, baby Bill will take after his mommas personality more here ;^D

Over time, Ford would become more manipulative just like his Reverse Falls self, since Dipper takes him under his wing and as an unofficial apprentice much earlier on. On the other hand, I think Stanley wouldn’t fundamentally have a huge personality change, but if Dipper is constantly with Ford, then Stan is lonelier, and Mabel would use that opportunity to bond with him and teach him a thing or two, things that the father of the Stan Twins never even bothered to teach them.

Phew that was a LOT XD. I still have a lot of ideas I wanna draw, but this is the gist

Thanks for the ask ! ^^

[transannabeth]

hi. for people who saw gatsby: an american myth. do you remember mckee asking nick for lunch. and then gatsby in like the next scene inviting nick for lunch. because i remember.

[fandomhopped]

first love/late spring

pairing: fwb!logan howlett x fem!reader; 2nd person pov

summary: logan and reader have been sleeping together for a while with an unspoken rule to keep it casual, but that goes to hell when logan catches feelings. however, reader is an independent boss bitch and hates men<3

warnings: heavy swearing, hella mentions of sexual situations, substance abuse, brief sexual content(nothing serious fr), creepy guy in a bar, blood, bar fight, mentions of sex trafficking and resulting trauma, daddy issues, fluff, angst asf, lowkey scott slander (i dont mean it i love him)

word count: 9.1k

a/n: reader has light manipulation abilities but theyre not mentioned that often lol, also reader takes a lotta shots at jean just cuz she pisses me off. side note: idk the true meaning of the song i used as the title, there are many different interpretations. i found the song after i had alr written the story and the lyrics resonated pls don’t jump down my throat if it doesn’t align <3

there’s not a millimeter of space between you and logan as he holds you against his body. you’re sleeping soundly, and he watches you breathe all night, not bothering to even think about sleep for himself. the sun came up three hours ago, he felt it on his back.

when you drink, you always wake up early the next morning. you two drank a lot together last night. and like every time you drink with logan, you ended up in his bed.

he tries to block the sun from your face with his body so it won’t wake you up. he knows when you finally do, this little illusion that you're his will all be over. everything you said last night won’t matter. you’ll go back to your room. he’ll stay in bed. you’ll both go back to acting like it never happened.

you always leave him swiftly. you always go downstairs and drink coffee from the same mug and act like nothing happened. without a stutter, it’s a routine.

since he moved into the mansion, he wasn’t ignorant to the fact that the female teachers were attractive. and, of course, he was first drawn to jean. he won’t deny that he still harbored some feelings for her when you came to his room all those months ago, but she made it abundantly clear that she loves scott.

then one night, you slipped a bottle of whiskey into the mansion and invited him to join you in drinking it. you said some things that made him sit closer to you. that was just the beginning. he woke up the next morning to an empty bed but distinctly remembers you falling asleep next to him, so he assumed you woke up and left.

logan is a pro at acting like some things never happen, but he wasn’t expecting you to act the same. he dismissed it as a one-off, drunken night.

then it happened again… and again and again, and you continued to act like it never happened.

which, he was fine with. this wouldn’t be the first time he’s had a with-benefits situation, but there’s something different about you. you’re badass. you’re beautiful. he really respects you. you fit him perfectly.

and you’re mean. you don’t smile all that much, really only when you’re drinking is what logan soon found out. you’re not always outright mean to people, it’s usually deserved. you don’t take anybody’s shit. you’ll let people know when they’re in the wrong or they’re pissing you off. you’re sarcastic and rudely witty.

that was just another thing that attracted him to you. but, God, were you the meanest in the mornings, especially when you’re hungover.

unfortunately for logan, he has developed a small, tiny, itty bitty, barely-there crush on you. just catching a scent of your perfume has him rolling his eyes in the back of his head and white-knuckling whatever is directly in front of him.

the thoughts of you under him, on top of him, in front of him, on your knees for him plague his mind all. day. long. then last night, you had him rock solid from just a few drunken words.

“you’ve ruined all men for me,” you said as he kissed down your neck.

“hmm?” he hummed as his hands roamed your body under your shirt.

“nobody could ever fuck me like you do,” you told him, pulling at his hair roughly. he lets out a deep groan at the feeling.

he’s never picked up his pace of getting someone’s clothes off so quickly. he ripped your favorite pair of pj shorts in the process, mumbling that he’ll buy you a new pair.

with him deeply inside you, one hand wrapped around your throat and the other sending you over the edge with his mouth leaving marks all over your chest, you say breathily, “fuck, you’re perfect for me.”

the moment hasn’t left his mind since.

“i’m hot,” you mutter, pushing the sheets from your legs. “you’re hot.”

“oh, yeah?” he whispers in your ear, his lips turned up.

“i’m about to have a heat stroke,” you return, squirming around and shoving his arms from around you.

he lets go of you and gives you some space, lying on his back and staring at the ceiling. a deep sigh leaves him.

“i’m gonna throw up,” you tell him, groaning and curling up into the fetal position.

“are you serious? don’t puke in my bed,” he says, leaning up to look at you.

you roll your eyes. “no, i’m not serious,” you snap at him.

“‘you wanna take a shower?” he asks, his lip curling up at the thought of you ruining his sheets (and not in the way he usually prefers).

“i feel like shit right now, logan. i don’t want to fuck you in the shower,” you tell him roughly, sitting up and glaring over at him.

he watches you stand up out of his bed and put yout shirt on. “‘s not what i meant,” he grumbles, looking away from her. he throws the sheets off his body and grabs his jeans from the night before.

he runs his hands down his face and then looks up only to see the door closing behind you as you leave him. again.

“whew, late night?” ororo asks you as soon as you walk into the kitchen, changed into some presentable clothes rather than the ripped shorts and oversized tshirt you walked back to your room in.

you ignore the woman as you open the cabinet to grab your mug. the same one you use every morning.

but it’s not there.

“where’s my mug?” you ask, glancing around the kitchen to see it’s not just ororo but also jean and scott there.

“is this yours?” scott asks, holding up the mug in his hand.

your gaze darkens. “yes,” she grits out, tightening her jaw.

“that’s my bad. i didn’t know this was yours,” he says, standing up and walking over to the sink. “i’ll wash it and you can use it.”

you feel your skin crawl as he turns on the hot water. “stop,” you say lowly, walking to him and turning off the water. “you can’t—.” you stop yourself as you breathe heavily. you rip the cup from his hands.

“hey, it’s just a mug,” ororo says to you, “what’s up?”

“it’s not—,” you cut yourself off again and take a deep breath, shaking your head. you turn on the cold water from the sink and carefully wash the mug.

“seriously, what’s going on with you?” jean asks as scott rejoins her side.

you roll your neck. “i’ve been here for years, and you don’t know which one is my mug?” you ask scott, not looking anywhere but your mug until you’re sure it’s clean.

“i never noticed before, ‘sorry,” he says then turns to jean with a shrug.

the light beaming in through the window shines a little brighter as you continue to shake your head, muttering things under your breath that the others can’t make out.

“it really is just a mug,” ororo says carefully, looking over your figure in concern.

“except it’s not,” you retort, attentively drying off the ceramic with a towel. you then pour some coffee into the mug and hold it close to your chest, turning back to the other mutants.

“what—,” jean begins but logan walks into the kitchen just as she starts and she stops herself.

her surveys everyone’s demeanor then looks at you. “what’s wrong with you?” he asks, walking to the cabinet and grabbing whichever cup is closest to his hand when he reaches in. he pours himself some coffee and turns back to them expectantly.

“scott was using my mug,” you tell him, leaning against the counter.

“why?” he asks scott, eyeing the man.

“to drink coffee. why does it matter?” he asks in return, scoffing.

“it’s hers,” logan returns, his stare hardens and he looks at scott like he’s an idiot.

ororo laughs humorlessly. “what does that mean? it’s just a mug,” she asks, looking between you.

you glare at her. “it was my father’s and now it’s mine.”

“the same father that sold you?” jean asks, her face contorting. you shift your weight uncomfortably. “why would you want that?”

“why don’t you just back the fuck off, bitch?” you snap at her, stepping toward her.

“woah, girl, calm down,” ororo intervenes, holding her hand toward you like you’re a wild animal. you scoff. “we get it. it’s special to you. that’s all you had to say.”

you roll your eyes at them. you leave the group and return to your room. logan watches you go then turns back to the others with his eyebrows raised. “did you say sold her?” he asks jean.

“when he found out she was a mutant—,” she begins.

“jean,” ororo interrupts her, shaking her head at the girl.

jean continues, “—her father sold her into a mutant sex trafficking ring,” she reveals, looking only at logan, “that’s where we found her and then brought her here.”

his face contorts, and he looks down into his coffee. “shit,” he comments.

“she doesn’t talk about it to anybody, and, out of respect, we don’t talk about it either,” ororo says pointedly at the telepath.

logan is seething all day over the new information. he hates to think you went through that for God knows how long.

after the incident, logan doesn’t see you for a while. he doesn’t know how. you’re a teacher and you live down the hall from him, yet he still doesn’t even catch a whiff of your perfume.

“logan, meet me in my office,” he hears charles’ voice in his head. he obeys and within a minute, he’s standing before the professor. “you should leave her alone for a bit.”

her brow furrows. “come again?”

charles says your name and logan clenches his jaw. “she’s destructive right now. you should let her be.”

“is she okay?” the wolverine asks, concern growing in his stomach, and it makes him feel sick.

“she’ll be just fine. this happens from time to time,” he tells him, pressing his lips into a thin line. “you know of her circumstances.”

“her circumstances?” logan growls, scowling down at the old man, “you knew what she went through and didn’t think to tell me? you know what’s going on between us and didn’t think maybe i needed to know that? what if she had a breakdown when we were together? i wouldn’t have known what was happening.”

charles’ lips turn down into a small frown. “that’s not my information to tell.”

logan storms off in a huff, muttering under his breath.

that friday, he’s smoking a cigar in his bed, looking out the window at the moon, which is shining rather bright tonight. he hears a few quiet knocks on his door. he opens the door, expecting it to be a student.

“hey,” you say, waving a bottle of jack in his face before pushing past him into the room. “'hope you don’t mind, i got started without you.”

“you always do,” he comments, closing the door, putting out the cigar, and following you to sit on his bed. “listen —.”

“i think i like that vodka more than this. this one makes my mouth taste weird,” you tell him, taking another sip out of the bottle before handing it to him.

he holds it and sighs. “look, we should—.”

“—take our clothes off?” you finish his sentence, smiling darkly at him. “i mean, it’s a little early, but i agree.”

“that’s not what i—.”

“—was going to say?” you guess his words, cutting him off again. “look at us finishing each other’s…” you trail off, looking at him expectantly. he sends you a deadpanned glance. “this is the part where you say ‘sentences.’ i think i’m better at this game than you are.”

he takes a long sip from the bottle before he looks at you. “can you be serious for a second?” he asks.

you scoff and take the bottle from his hands. “i don’t come to you like this to be serious, logan,” you say, putting the whiskey to your lips again.

“why do you come to me at all?” he asks quietly and gruffly.

you take another sip and place the bottle on the floor, scooting closer to him. “because you’re hot,” you say in a sultry voice, putting a hand on his thigh and slowly dragging it up, “and you call me ‘princess’ and ‘darling’,” you continue, reaching for his belt buckle. he doesn’t do anything to stop you, “and your hands.” you push the buckle out the way and unbutton his pants, dragging down the zipper slowly. “and your tongue.” you reach your hand into his pants. “and this.”

he breathes heavily, completely lost in the euphoria that is you.

he forces himself to snap out of him and shakes his head. he pushes your hand away and stands up, taking a few steps away.

“what’s wrong?” you ask him, grabbing the bottle and standing also. “do you need some more?” you ask, holding the drink out for him, confusion written all over your face.

he holds his hands out in front of him as if to deny the offer. “it’s…,” he trails off, pushing a deep breath through his nose.

your shoulders drop along your face. you tilt your head in disbelief. “oh, my fuck. they told you,” you conclude. you turn around and sit back down on the bed. he stays silent, just looking at you. “okay, so what now? you don’t want me anymore ‘cause i’m used up?” you ask, slurring your words a little.

“no,” he denies without hesitation.

your sober personality is back even though you’re still drinking the whiskey like you’ve been in the dry desert for weeks without water.

“then what is it, logan? you don’t wanna do this ‘cause my hair isn’t blood red?” you ask next, raising your brow and looking at him expectantly.

his face contorts. “what’re you talking about?” he asks gruffly.

you chuckle at him. “i’m not a fucking idiot, old man. i know you want jean so bad, but she doesn’t want you so i'm second choice” you say, then you shrug with one shoulder. “i’d’a gone with ororo, to be honest. have you seen her? i’d show her a good time,” you add.

“that’s not what this is,” he tells you, taking a step forward but not within arm's length of you.

“then what is it? just fucking tell me,” you say loudly, the room lights up as the moon shines brighter. “d’you want me to tell you ‘bout how i was a good, little daddy’s girl until i almost blinded my brother when i first got my powers? how about how my dad gave me away like he didn’t love me? d’you want me to cry in your arms about how i was passed around by mean men like a blunt when i was 14? why do you think i can only let you fuck me when i’m drunk?” you ask him sarcastically, but your voice breaks on your last words. you let out an unsteady breath. logan watches you cautiously, unsure of what to do. “is that what you want, logan?! you wanna be the big, strong man here?!” you ask him, crying now as you yell at the man in front of you.

your body slumps forward as you let the tears drop from your eyes, and you grip the bottle in your hands like a lifeline. you feel the bed dip beside you and the bottle pulled from your hands. you move your hands to your face, trying to pull yourself together.

you feel his big arms envelope you and pull you into his chest. that’s when the waterworks really break out.

logan’s never been to best with tears. he hasn’t had to deal with them too much, but his first instinct was to hold you as close as you would let him. he hates to see you like this. in all honesty, he wants to hunt down every man that ever put a finger on you and rip them to shreds. but, for now, he’ll hold you. as long as you would let him.

you wake up with araging headache. you’re hot, burning up, actually. you kick the blankets from your legs and turn over in the arms of the incredibly attractive man in bed next to you. you look at his sleeping face and sigh.

this is the part where you leave, but this time, you just snuggle into his chest and fall back asleep.

logan wakes up later than he usually does after nights like the last one. it’s normally the sound of the door closing wakes him up. but, this time, he sees your cute face smushed against his pec. he doesn’t fight the smile on his face.

you stir quickly after he wakes up. you rub your eyes and look around the room, then to logan. “i’m gonna puke,” you tell him, the remnants of the smile fall from his face. you pull away from him as your face blanches. “seriously,” you add and sit up quickly.

he reaches for the trash can beside his bed and holds it in front of you just in time. he holds your hair back with a look of absolute disgust while you clutch the bin close to your face and your body jerks with each gag.

once you're done, you wipe your mouth with the bottom of your shirt. you groan loudly and stand up from the bed. “i’m gonna take this with me,” you tell him, holding the can in your arms and moving toward the door.

“keep it,” he remarks, his lip curled up.

monday morning rolls around quicker than anybody wants. you walk into the kitchen and grab your mug, pouring coffee and looking around at others in the kitchen.

they’re talking amongst themselves, mentions of grading papers and some stupid answer a kid put as their answer on an assignment.

you just listen and sip your coffee peacefully. that is, until logan walks in. you move from in front of the coffee pot for him to get some. he nods in thanks as he joins your side.

“this coffee is awful,” you comment, pouring it out in the sink next to you. he chuckles at your comment but doesn’t say anything. “scott, did you make the coffee this morning?” you ask him. the three look over to you, almost as if they didn’t see you come in.

“yeah,” he answers.

“don’t do it again,” you tell him, filling the mug with water and leaving the kitchen.

as you watch a group of students take a test, you see logan walk back in his jacket he usually only wears when leaving campus.

“hey,” you call out. all the students look up at you. “keep taking your tests. i’m going to the hallway for a second,” you tell them and move into the hallway. “logan,” you call and he turns around, walking back toward you. “where are you going?”

“to pick up some more cigars,” he answers, gesturing over his shoulder.

“will you pick me up a pack of cigarettes?” you ask him, reaching into your pocket for some money.

his brow furrows. “you smoke?” he asks.

“sometimes, yeah,” you reply, handing him $20.

he shakes his head. “i’ll cover it,” he answers.

“thanks,” you reply, placing a hand on his forearm before returning to your classroom.

he looks down to his arm and blinks. that’s new.

“brad, i know you’re not talking during a test. are you begging for a failing grade?” he hears you say before he turns back toward the front door of the mansion.

logan returns a while later, after the school day is over and the students are training. he finds you in your classroom, grading papers.

“hey,” he greets. you look up at him.

“hey,” you return, eyes dancing all over his body.

“these are for you,” he says, holding out the page of cigarettes.

“right, thanks,” you say and reach for them, your fingers brushing his as you grab them.

“‘you need any help?” he asks, looking at the papers before you.

“do you know anything about math?” you ask him, pursing your lips.

“uh, no,” he answers, shaking his head. “don’t you have an answer key or something?”

“i have to check their work to make sure they didn’t just get the answer from the person beside them,” you reply, looking back down to the papers. “some of these kids are dumbasses.”

he chuckles. “no kid wants to do math,” he comments.

“how would you know? weren’t you born before there were schools?” you ask him without looking up. there’s a beat of silence before you eventually glance up at him. “was that insensitive?” you ask instead.

he just shrugs. “i’m not that old,” he says, sitting in the desk in front of yours.

“sure,” you respond and go back to grading.

the two of you sit in without a word as you grade, and he watches you in complete admiration. after a while, he stands up and walks toward the door.

“you’re leaving?” you question.

“‘didn’t think you wanted your room smelling like cigars,” he replies.

“i’ll join you,” you say, grabbing the pack he bought you and putting the tests in a drawer. he doesn’t object and you two walk outside, to a bench in the gardens, away from the students.

the two of you sit in silence as you inhale smoke and slowly release it from your lungs.

“i’ve never seen you smoke before,” he comments after a while.

“i only smoke when i give up drinking, i only drink when i give up smoking,” you answer, tossing the burnt cigarette onto the ground and stepping on it, then picking another one from the pack.

you pick up your lighter and flick it a few times but it won’t light. you put your head and lighter inside your shirt to block the wind, trying again and failing again.

“motherfucker,” you mutter as you try to cover the lighter.

“here,” he offers his lighter with the fire shining brightly above it. with the cigarette between your lips, lean toward the lighter, looking up into his eyes as you do. he meets your eyes and clears his throat, closing the flame into the top of the lighter and shifting his eyes to the cigar between his fingers. you let a small smile rest on your face afterward.

“so you’re not drinking anymore?” he asks you.

“figured i should go on a sobriety cleanse for a bit,” you reply, “‘t’s probably for the best.”

“probably,” he adds and silence takes over again.

he glances over at her for a second and he sees you bite at the skin of your bottom lip the way you always do when you’re thinking, contemplating. he’s tempted to ask what’s on your mind but before he can break the silence, you let out a hard sigh.

“i don’t apologize for things,” you begin and pause, biting at your lip again.

“okay…?”

“i don’t apologize for my actions or words because i stand by every decision i make,” you continue and pause again. he’s looking at you and you’re looking directly ahead of you. “i’m not good at apologizing,” you sigh again, “but i’m…sorry for some of the things i said the other night. there’s no excuse. i apologize. take that how you will.”

“you don’t have to apologize,” he replies.

you huff. “so i just said all that for nothing? you could at least accept the damn apology,” she snaps at him then rubs the crease between her eyebrows out.

“you called me an old man. i don’t know if i want to accept your apology,” he teases with a crooked smile. you send him a look that turns into a hint of a smile before turning your head away.

“i need to get back to grading those tests. i’ll see you later, logan.” you stomp out another cigarette and stand up from the bench.

“see ya, sweetheart,” he says lowly but you still hear it.

as you look over tests, ororo enters your classroom. “ooh, what’s got you all smiley?” she asks as she strolls in.

the previous smile you didn’t even realize you were wearing falls when you look up at the mutant. “huh?”

“don’t try to deny it. i saw that smile,” she says teasingly. you just roll your eyes lightheartedly. ororo’s brow furrows as she sniffs the air. “are you smoking again?”

“yeah, i quit drinking,” you answer, “what’s up?”

“i was coming in here to ask you if you wanted to go out with the rest of us friday night. we’re planning on going that bar we always go to,” she says, “but if you’re not drinking, i don’t wanna make you go.”

“yeah, no. that’s okay,” you decline the offer.

“alright, if you change your mind, you’re welcome to join us. sober or not,” she adds before leaving out.

the week drags on painfully slow. it’s a week of tests and starting new units in all your classes and you really just want to bang your head against a wall and tell the kids class is canceled.

by the end of it, you actually do want to join your colleagues in going out to that bar in town that they love so much. you offer to be the designated driver, not trusting anyone but yourself to drive you anywhere.

“are you going with us to the bar?” you ask logan as he rummages around the cabinets for something to eat.

“no,” he answers, opening the fridge, “are you?”

“yeah, i’m driving,” you tell him. there’s a beat of silence before you add, “you should come.”

he turns toward you at your words with a crooked smile. “oh yeah?” he questions, “why? ‘you want me there?”

you scoff with no heat behind it. “i was just trying to be nice,” you say.

“you? nice?” he asks, raising his eyebrows in disbelief.

“what? you don’t think i’m nice?” you ask him defensively, crossing your arms.

“no,” he replies, not skipping a beat.

“i’m very nice,” you counter.

“no, you’re not,” he denies again, also crossing his arms.

in his white beater, crossing his arms makes his arms flex and you can’t help but let your eyes wander to the veins of his biceps.

“you have nice hair. there, nice,” you compliment, then add right after, “you’re not balding or anything, which is quite common for men your age.”

“you’re not good at this,” he tells you, looking at your plate to see what you're eating.

“do you want some?” you ask him. you hold your plate across the counter for him to pick off of. he grabs one of your chips and eats it.

“thanks,” he mutters.

“look at me being nice,” you comment and he chuckles deeply.

“shut up,” he returns playfully.

the five of you go to the bar that night, logan joining at your request. he sits at the bar, ordering drink after drink and scanning the bar every so often to make sure you’re alright.

you spend most of your time at ororo’s side. before long, you’re accompanied by a couple of men. you and ororo share side-eyes as they continue to tell stupid jokes. ororo excuses the both of you to go to the bathroom only to move next to logan at the bar.

“having fun?” he asks sarcastically, looking at you then glancing to ororo.

“they could’ve at least been funny, but they weren’t. there terribly unfunny,” you tell him, sitting next to him on a barstool and ororo laughs.

“yeah, that was awful,” she comments and sips her drink. “oh, i see jean and scott. i’ll be back later.” she leaves the two of you. you order a club soda and turn to logan, who is hunched over his drink.

“you have really bad posture,” you tell him as the bartender hands you your drink. he just shrugs and refills his glass with the bottle the bartender left in front of him. you dig your finger into his spine and he straightens up, looking at you wildly.

“why?” is all he asks.

“it’ll help you look more presentable. you’re not looking for anybody tonight?” you ask and glance around the bar for women.

“no, i’m not,” he answers and slumps back down. you dig your finger into his back again and he looks down at you. “stop,” he says seriously.

“oh, what’re you gonna do? stab me?” she asks him challengingly. he looks back down to his drink and shakes his head dismissively. “oh, come on. you’re good-looking, you’re good in bed, you’ve got this hot, animalistic thing going on. why not look for somebody?”

“‘cause i don’t want anybody,” he answers. “did you say i’m good in bed?”

“well, yeah,” you confirm with a one-shouldered shrug.

he stares at you for a beat. this is the first time you’ve ever mentioned it before. you don’t talk about the things you two have done. ever.

“i would know,” you add after he stays quiet.

“you would know what?” ororo asks as she rejoins you, along with scott and jean. they all stand directly behind the man, looking at you expectantly. logan’s waiting for you to make up a lie.

“that logan’s good in bed,” you answer, gesturing to the man next to you. his eyebrows raise and he looks directly in front of him, a smirk playing on his lips as he drinks down all of what’s left in his glass and refills it again. you surprise him more and more every day.

“he’s what?” ororo questions, shock written all over her.

you roll your eyes. “you don’t have to do the clueless bit. jean reads minds and i know she’s told you two,” you state, pointing between ororo and scott.

“what? i haven’t—i didn’t—,” jean stutters over her words, laughing through them.

“liar,” you clock it in a high-pitched tone, sipping your drink. “i’ve heard you talk about it before. i’m just surprised you haven’t mentioned it yet.”

the three of them exchange glances. “okay, yeah, we knew. we thought you would deny it anyway so we didn’t bring it up,” ororo admits.

logan stays silent, drinking like he’s been thirsting for days. why are you doing this? “so…you two are…,” scott trails off. you shrug as your answer. “hmm.”

“hey, sweetheart, you never came back,” the guy from early comes up behind you and wraps an around your shoulders. you tense up at the feeling.

you remove his hand from you. “don’t touch me, and don’t call me sweetheart,” you tell him. he laughs and looks at your colleagues.

“why not? looks like everybody’s got a matchup here but you. let me help you fix that,” he says and runs the knuckles of his finger across your collarbone. he points at scott and jean, then logan and ororo. “i can make you feel good,” he whispers in your ear.

“seriously, don’t touch me,” you tell him firmly, pushing his hand off your shoulder and shifting your seat away from him.

logan doesn’t watch the encounter but he’s squeezing the glass in his hand so hard it’s about to shatter. he feels the red-hot rage crawl up his neck as he does every time he encounters some asshole in a bar.

“don’t be like that, sweetheart,” the man continues and reaches for the strap over your shoulder. chills cover your arms and legs and a shiver runs down your spine. you grab his hand roughly and shove it away from you.

“touch me again and i’m gonna break your fucking nose,” you tell him.

“ooh, i got a feisty one,” he comments to the rest of your group, laughing. “i like that.”

scott takes a step forward. “you need to lay off, man,” he tells him, trying to keep this civil and contained.

the man only laughs harder. “what are you gonna do, glasses?” he asks him and slings his arm over your shoulders. “come on, baby, let’s get out of here. i got a real nice spot for you in my bed.”

“she already told you not to touch her, bub,” logan chimes in, still looking straight ahead and not sparing the boy a glance. there’s a tightness in his shoulders as he uses all his self control to stay in his seat.

“woah, tell your bodyguards to stand down,” he says to you but your only response is to rear back and deck him directly in the nose.

he stumbles back, holding his nose as blood drips into his hand. “you dumb bitch—,” he lunges toward you but logan whips around and grabs him by the front of his shirt, shoving him up against a wall.

“what’d you say?” the mutant asks him lowly, a growl deep in his throat.

“hey, take it outside!” the bartender yells at the man.

“why don’t we do that? you wanna take it outside?” logan asks the scared man in his grasp, shoving him harder into the wall.

“logan, let’s go,” ororo tells him as she walks with you toward the door. he doesn’t move. “logan!”

he drops his hold on the man and turns his back to him. he doesn’t even take a step before the dumbass says, “yeah, listen to your bitch.”

logan turns back around and absolutely socks him in the jaw. the man falls to the ground. logan walks after his friends, rolling his shoulders.

when logan gets out to the car, he sees you in the driver's seat, holding your hand closely to his body. he sits in the passenger seat and looks at you.

“are you okay?” he asks you carefully.

“did you kill him?” you ask him flatly without meeting his gaze, and he shakes his head. “you should’ve,” you say coldly and start the engine, driving out of the parking lot and back to the mansion as quickly as possible.

when you arrive, logan accompanies you to the lab for jean to look at your hand. he wasn’t going to say anything but watching you cradle your hand makes him change his mind. “are you alright?” he asks you.

“fine,” you reply sharply, clenching your jaw tightly. he watches you bite at your lip.

“speak your mind,” he tells you, just outside the hidden elevator. you just shake your head at him. “if you don’t, you’ll take it out on jean.”

“why can’t i just do that?” you ask lowly.

“‘cause she doesn’t deserve it,” he reasons.

you take a deep, frustrated breath. “what happened tonight was stupid,” you say, “dumb fucking men thinking they can get whatever they want whenever they want. now my hand might be broken because i couldn’t—,” you cut yourself off and take another deep breath to steady yourself. “i’m done talking about this,” you say and open the door to the hidden elevator.

he blocks your path. “no, you’re not,” he says and waits for you to continue. that’s when the dam really breaks and you last out at him.

“it’s stupid. all of this is fucking stupid. i could’ve handled myself back there. i didn’t need you to step up and be my big, strong savior,” you tell him angrily, voice rising.

“i know,” he returns.

you’re shouting now, “then why couldn’t you just let me do it? i could’ve stopped him. i’m stronger now. i know how to fight now. i don’t need anybody to save me. i can save myself. i don’t need you. i don’t need any of you.” your voice cracks as the anger starts to shift into the feelings you hate to feel. “i’m not gonna let anyone take advantage of me ever again. and i’ll break every bone in my body before i let some drunk narcissistic man ever put his hands on me again,” you say your peace and breathe heavily and unsteadily.

there’s a long pause, the weight of your words hanging between you. logan doesn’t interrupt, giving you the floor to get it all out.

“i know,” he repeats himself deeply, “but you shouldn't have to.”

you feel that familiar ache in the back of your throat as tears threaten to spill out. you squeeze your eyes shut tightly, pushing all the emotions back down. “my hand really hurts,” you tell him quietly, not trusting your voice. he puts his hand gently on your back and leads you into the elevator then into the lab.

by the time you’re in front of jean, you’ve pulled yourself together and let her examine your hand. you did break your hand. she wraps it up for you and sends you to your room with some pain meds.

logan doesn’t leave your side until you’re at your bedroom door. “i don’t want you to come inside,” you tell him quietly. he stays silent. “it’s just that you’ve never seen my room before and this is mostly where i use my abilities and it’s messy right now and—.”

“‘t’s fine,” he interrupts your rambling. “i don’t have to come inside.”

“right,” you mumble, hand gripping the doorknob. “good night.”

“‘night.” he doesn’t make his way to his room until you slip into yours, locking the door behind you.

the next mid-morning, logan walks into the kitchen to see jean scolding you like a child. he’s surprised you’re just sitting there and taking it without a word.

“i’m serious,” jean says, finishing her tongue lashing.

“i know,” you mumble before jean offers logan a soft ‘good morning’ as she leaves.

“what was that about?” he asks you, moving over to the table where you sit with paper spread in front of you.

“i need to grade these papers but my hand is broken and dr grey told me it would only cause more damage,” you explain, sighing heavily and holding the pen in your healthy hand.

“let me help,” he says, snatching the pen from your fingers and the paper from in front of you. the numbers on the sheet are all greek to him. he doesn’t know what the hell he’s looking at.

“you can’t,” you tell him, pulling the paper from his hands. “you don’t know how to do it.”

“then tell me,” he offers, moving his chair next to yours. “tell me what’s wrong and i’ll write it down.”

you shake your head a few times before giving in. “fine,” you cave and look over the student’s work. you place the page in front of the man and point a certain part of a problem. “okay, so he should’ve foil’d here but he didn’t so the rest of the work is wrong. put a line through it and write ‘foil’,” you instruct him and he follows your orders.

“like that?” he asks, showing you. you nod in approval.

“your handwriting actually isn’t that bad. i was expecting a lot worse,” you comment, leaning into him as you look over the next problem. “that one’s right, so put a check,” you tell him and he follows.

the process continues on. every time there’s a gap of silence as you examine the math that he would never even try to understand, he watches you in complete admiration. there are practically hearts in his eyes while the gears turn in your brain.

as the next few days progress, you and logan spend more time together than you ever have. whether he’s in your classroom during your free period or you watch whatever movie’s on tv together on the couch, if someone’s looking for logan, you’re right beside him and vice versa.

of course, the others have taken notice of it. it’s new and after you confirmed you had been sleeping together, they draw their own conclusions about the two of you.

“‘y’know what i would like to see?” you prompt logan as you watch a show with a lumberjack in it.

“what’s that, darlin’?” he asks, not taking his eyes off the screen.

“you chop wood,” you tell him, looking up at him from your spot under his arm.

“chop wood?” he questions.

“yeah, like, axe, wood, outside, shirtless, sweaty, and muscly, chopping wood,” you tell him, “lumberjack style.”

“lumberj—.”

“with the cigar,” you add excitedly, cutting him off. “maybe add in a little dehydration too.”

“i think you’re drooling a little bit,” he tells you, pointing at your mouth as a lazy smile rests on his face.

“probably, that’s hot,” you tell him, looking back at the screen.

as the credits roll, logan looks down to see you sound asleep with your head resting on his chest. he carefully picks you up in his arms and carries you to your room.

he opens the door and pauses his movements, eyes dancing across your room. there are no personal touches on the walls or shelves. it looks exactly like his did when he first got to the mansion. well, except for one obvious difference.

your room looks completely dilapidated, like an abandoned home that the sun and time have destroyed. the dark color of the wooden floors and furniture has faded, every surface dry and brittle. in some parts, mostly near the window, the wood is completely bleached of its color.

he lays you in your bed and covers you up, taking in the room once more before he leaves.

“why don’t you have another name like everyone else?” he asks as you sit next to him on the bench where you now regularly take your smoke breaks on.

“like a last name? i do have one,” you answer, flicking the butt of your cigarette onto the pavement.

“scott has cyclops, marie’s got rogue,” he elaborates, glancing over at you. you’re sitting right beside him, his arm thrown over the back of the bench in a way that your head rests on it.

“i don’t know. i guess i never understood why i have to change my name just because i’m a mutant. i am who i am, human or mutant,” you answer, messing with a loose thread on your pants. “plus, seeing the way you made fun of the others when you first got here for their names—i’d never even try to think of one now,” you tell him, making him chuckle. you smile proudly at making him laugh. “you looked so cute when you first got here.”

“are you saying i’m not cute anymore?” he asks in mock offense, looking at you sideways.

“i mean, when i first saw you, you had that big jacket on and you were so clueless. a little less muscle too,” you recount, poking his toned stomach to which he curls to the side. your jaw drops. “are you ticklish?” you ask him, a smile growing on your face.

“no,” he replies sharply and gruffly, straightening his posture.

“oh, my fuck. you so are ticklish,” you accuse and dig your fingers into his ribs, attempting to tickle him.

a deep laugh leaves him, and he grabs your hand in his, his facial expression dropping quickly. “stop,” he tells you in warning. you just laugh in his face, reaching toward him with your other hand, cigarette still between your fingers. he grabs your other hand before you touch him, cigar between his fingers. “no,” he denies you.

you look toward the mansion and see the sun reflecting off a window. you bend the light so it’s shining directly in his eyes, almost burning them. he shuts his eyes tightly and brings one of his hands up to his face. as quickly as you can, you reach back into his side.

he quickly stands up and looks down at you. “enough,” he says and points a finger in your face.

you stand up also, but you’re shorter than him so he’s still looking down at you. you decide to stand on the bench, now a little taller than he is. you don’t say anything, just look down on him with a straight face.

logan can’t help the smile that breaks his scowl. “you’re an idiot,” he tells you, raising his eyebrows at you.

you mimic his gesture then flick the cigarette butt onto the ground. “you are cute, wolvie,” you say and ruffle his hair. “i get the whole towering over people know. this is a power trip for sure,” you comment.

“oh, really?” he questions and puts the cigar between his lips. he grabs you around your waist and throws you over his shoulder like you’re as light as a feather.

you let out a surprised squeal as he walks away from your bench with you in his hold. “put me down. bad boy, bad dog,” you chastise him hitting his lower back. he doesn’t listen so you just hang over his shoulder as he drags you into the mansion.

you grab his ass abruptly and he stops in his tracks. he places you on the floor and tilts his head as he looks into your eyes, taking the cigar from his mouth. “‘bad dog’?”

“yeah, wolverine,” you say, gesturing to him.

“a wolverine’s not a dog,” he tells you, smiling down at you.

your brow furrows. “yeah, it’s like a small wolf, right?” you wonder and feel like an idiot when he laughs at you.

“no,” he answers, shaking his head.

“liar,” you accuse.

he tells you, “go to the zoo. there’s some there.”

you look up at him in disbelief. “you’re fucking with me,” she states and he shakes his head in complete amusement. “if you’re lying to me, i’ll—.”

“what? try to blind me again?” he asks, cutting you off.

“maybe i will,” you challenge, crossing your arms.

he pauses for a moment, considering. “maybe i want you to,” he says and his tone drops, like, two octaves when he says it.

you’re suddenly aware of how close the two of you are, how his hands gripped your waist just a moment before, how effortlessly he carried you. the playful atmosphere shifts and you feel heat creep up your neck and across your cheeks. you don’t blush, especially not around him.

“logan,” is all you say softly. he notices the change in tone. he notices everything about you, every detail, every flaw, every perfection.

for a moment, neither of you speak. the air between you is charged. your eyes travel all over his face. he really is such an attractive guy. and when you peel back the tough guy layer, he’s a sweetheart.

“thanks for the ride,” you say lightly, trying to break the tension.

he nods, gaze still locked on you. “anytime,” he remarks, his voice rougher than it was a moment before.

you both stand there for a few more seconds, not really sure where to go from here. his eyes shift from yours to your lip as you chew on it. his jaw tightens and he looks away from you, taking a step back to give you some space.

your heart pounds against your chest unfamiliarly. everything about this feels so new to you.

“see you around, pup,” you say, your voice back to its teasing tone.

“yeah,” he adds, watching as you turn away and walk back toward the mansion.

more days pass and you spend more time with logan. he notices that you make fun of him more, teasing him for small stuff.

it’s only when he’s in the laundry room that ororo catches him alone. “hey, logan,” she greets. he mumbles something of the same. “so…you look pretty cozy with a certain mutant.”

“huh?”

“you know what i’m talking about,” she says, leaning against a washing machine.

“it’s nothing,” he tells her, starting the machine he threw his clothes into haphazardly.

“‘doesn’t look like nothing,” she returns.

“leave it alone,” he grumbles, turning to leave the room.

ororo steps in front of him, placing a hand on his chest. “please, don’t hurt her, logan,” she requests.

“she doesn’t want me the way you think,” he tells her.

“you can’t seriously believe that,” she says, looking back and forth between his eyes.

at that very moment, you turn the corner and your eyes widen. you ignore the sting in your chest as you let out a loud “woah.” ororo quickly turns around and takes a step away from logan. “i didn’t mean to interrupt,” you tell them with your hands up in surrender, but that was exactly your intention when you spoke up.

“you weren’t interrupting anything,” logan tells you, watching you move past him to grab a laundry basket.

“i’m not judging,” you reply, walking back to the door. you turn back last second and look at ororo. “hey, if he asks you to wear a red wig, say no,” you tell her with a wink before leaving.

“i never—,” logan cuts himself off, shutting his eyes and shaking his head. “i never did that,” he says to her.

“God, i hope not. what the hell,” she remarks, shoving his arm. “she was jealous. you need to go tell her nothing happened.” he sighs deeply and takes a step forward. “‘you really still think she doesn’t want you?”

he doesn’t reply and follows after you. you’re walking as quickly as you can up the stairs when he catches up to you. “hey,” he calls after you.

“don’t worry, buddy. secret’s safe with me,” you tell him, picking up your pace as you reach the top of the stairs but he keeps in step with you.

“there’s not a secret. we were just talking,” he says.

you place a hand on your bedroom doorknob. “really, you don’t have to defend yourself to me,” you say and open your door, slipping inside. before you can shut it, logan stops the door with his hand. you look at him through the crack in the door, pushing your lips into a thin line. “uhm…”

“there’s nothing going on between me and storm,” he tells you.

“i’m not gonna tell anybody,” you return, frustration rising in your tone. you push against the door but your strength is in no way comparable to his.

“i’m serious,” he tries again, almost pleading. “i don’t want her, i want—.”

“jean? look at that, finishing each other’s sentences again,” you cut him off with a false laugh.

“come on, darlin‘,” he says, tilting his head to the side.

you groan. “i just thought—,” you stop yourself, sighing. “it doesn’t matter what i thought.”

“it does matter,” he tells you, pushing the door a little wider. you move into the space between the doorway and the door, trying to block his view into the room. “tell me,” he encourages, getting closer to you.

“i thought you weren’t a whore,” you retort, giving him a hardened look.

“that’s not what you were gonna say,” he states lowly, looking deeply into your eyes. “what was it?” you pull your bottom lip between your teeth, biting into the skin. he reaches his hand to your jaw, his thumb pulling the lip from between your teeth. “don’t do that. you know it drives me crazy.”

“i thought maybe you wanted me for more than sex,” you admit, feeling embarrassed as the words slip out. you clench your jaw, preparing for the rejection. a smirk slide onto his face and you drop your head. “okay, bye.”

you move back and push against the door again, but this time he pushes the door all the way open. your eyes widen as he takes a long stride toward you and pulls you back to him by the back of your neck. he presses his lips against yours feverishly to which you obviously reciprocate.

he pulls away and rests his forehead against yourself, breathing heavily. “i want you in every way possible, sweetheart,” he says.

you swallow thickly, putting a hand on his chest and pushing him away. “you don’t want me,” you tell him. he wraps his arms around your waist and pulls you back into him, your chest pushing against his.

“i do,” he counters.

“you don’t,” you respond.

there’s a beat of silence. “i do,” he says again. you just look up into his eyes. “i want you. i’m not the best person for you, i know that. i’m older and unhappy and i probably can’t be there for you emotionally,” he lists then shakes his head at you, looking at you like you make the world go round. “but i want you, i want every part of you—the good, the bad, the hot and sexy, and the rude and snappy. everything.”

you’re quiet. you don’t know what to say, what is there to even say? in your head, he’s always wanted jean and you were just a place filler. you’ve been under the impression that you caught feelings and he didn’t reciprocate them at all. maybe you’re wrong just this once.

“i want you too,” you tell him in a whisper. he watches your brow furrow as you look away from his eyes. his face falls. “but—.”

“no ‘but.’ don’t say ‘but’,” he begs, loosening his grip on your waist.

“logan, i can live with you not being there for me emotionally, but i don’t know if you can live with me not being for you sexually,” you tell him. dread takes over your body. this beautiful, morally grey, perfect-for-you man is in the palm of your hand and you’re letting him slip through your fingers.

her visible confusion deepens. “you’ve been perfect for the past few months,” he tells you, misinterpreting your words as insecurity.

you shake your head. “i meant it when i said i can’t fuck you sober,” you tell him slowly, avoiding his gaze completely. you feel his hands move from his loosened grip to a hover over your hips. you can’t read his mind like you usually can. logan wears his thoughts on his face, perfectly readable when he’s mad or happy or just his normal grumpy. but now, it’s like trying to read a book in a language you didn’t know existed. “i’m sorry,” you add when his silence becomes too much.

“i don’t care,” he tells you as soon as you finish the last syllable.

“you know i don’t apologize for shit and you don’t care that i’m sorry?” you ask him. you go to push him off again but he pulls you back in, this time wrapping his around your neck, smothering your face in his burly chest.

“i don’t care about sex,” he tells you as he rests his head atop yours. you return the embrace and hold him around his ribs. “i don’t care if you never touch me again. i love you.” your eyes widen and he feels your body tense up. he chuckles, pulling away and smiling at you. “too soon?”

“a little,” you tell him, nodding. you then smile back at him.

———

a/n: i haven’t written in a long time . pls don’t rip me up if u hate this🙏

[nohaijiachi]

Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

Before we get into the subject matter of the title let me preface a couple of things:

1- All that will follow is, big surprise, my opinion and my interpretation of this character. Do I think I am The One And Only Who Gets The Blorbo Right and that my ideas are 100% the way the author(s) intended to convey the character? No.

More likely than not the way I see Aziraphale could be intensely different from the way Authorman sees him, or Actorman sees him, and I don't think that my interpretation is necessarily any more correct than anybody's else.

That said, if I also did not think that I am, in fact, correct on a certain level, I wouldn't have bothered forming such a thought out opinion of Aziraphale in the first place, nor would be sitting here, writing this post that I can already tell is going to be entirely too long and might probably ruffle some feathers.

So I'll be writing the rest of this post with the caveat that I while I do think my interpretation correct, I'm also not trying to change anybody's mind nor to discredit anybody's else interpretation of Aziraphale. We can sit here in the sandpit and hold different opinions and still be able to build sandcastles together, it really isn't that deep at the end of the day; I can assure you, I'm not here to fight nor cause fights with this one.

2- With the above point, comes also the fact that I won't bother continuously saying "In my opinion" for the rest of this post. You already know that. So, if something will come across as a bit caustic, do know that it is very much tongue in cheek and I am poking a bit of fun at general fannish habits that I am also very much quote-unquoute 'guilty' of having partaken into, and will partake into again plenty of times in the future, I'm sure.

So, with that: Here's Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

A large part of the people comprising this fandom prefers Crowley. There, I said it.

This fandom's preference blatantly skews toward Crowley. Can we admit that openly? Let's admit that openly.

To be clear, this isn't meant to be an accusation or recrimination or any other -ation you can think of, I am merely stating matter-of-factly a phenomena I've observed in the last four years.

It is also not a wrong nor bad thing in any way, shape or form. I adore Crowley myself. I love them both so much it's unreal.

But I started with that because I think it is very much a symptom of the fact that a lot of people don't get Aziraphale.

I remember back with S1 there had been plenty of times when I found myself reading discussions and opinion exchanges about Aziraphale and Crowley, their dynamics, all the things that went unsaid behind the things that were said, and found myself genuinely surprised by seeing how some people interpreted certain moments wildly different from how I personally saw them.

I look back at that and I think "Oh, sweet summer child". Nothing could have prepared me from the onslaught of takes about Aziraphale that make me go "Good lord, what???" in the wake of S2, and the infamous Last Fifteen.

Now because I don't want to be pointing fingers at specific things and risk upsetting somebody more than I already am by being open in admitting that, guys, yes, some of the takes y'all have been sharing make me go "Yikes(tm)", I'll move on the interesting part and what I would actually love to discuss, aka cracking Aziraphale's head open and see what that actual fuck is going on in there.

Another preface: Because this duo is intrinsically linked and woven together it is downright impossible to only focus on Aziraphale without also mentioning Crowley, so... Let me circle back to our fav demon bae for a sec, here.

I think the reason why it seems that a larger part of the fandom favors Crowley is because I feel like Crowley is a much easier character to grasp. He is very open in his thoughts and feelings, at any given moment us, the audience, have a much easier time watching a scene and sort of ruminating in the back of our heads about Crowley's motivations for saying the things he says and doing the things he does.

That isn't to say Crowley is a less complex character than Aziraphale. They are very much equally complex and multifaceted individuals with their strengths and weaknesses, their issues and the way they each cope with them, how differently they approach their existence and so on and so forth.

But whereas Crowley as a character presents itself with a certain dynamism and a far more outward openness about his complexity, Aziraphale does the exact opposite; we can say Aziraphale is downright hermetic about it.

For us, the audience, he presents a challenge that requires a good deal of thought being put into him to see over the facade he presents at a more superficial level; he requires time and effort to fully dismantle him in our minds to try and see what makes him thick (other than his thighs), and thus I think it is entirely natural that more people latch on the far easier to identify-with, and relate-to, Crowley.

And that is the inevitable consequence of everything that makes Aziraphale... Well, Aziraphale.

So, where to start? Let's try and jot down what Aziraphale truly is at his core.

He is a contradiction.

This man-shaped being is a walking contradiction, constantly existing in a state of being coated in three thousand layers of misdirection and obfuscation and double thinking.

Why is that? Well. He's an angel.

Aziraphale loves being an angel. It is a tenet of his entire existence and something he cherishes. He wants, so very much, to be his ideal of what a good angel is: An entity who is kind and loving and understanding and forgiving.

Of course us, the audience, know that is utter bullshit, because we know angels can be individuals just as complex as the humans Aziraphale loves so much, with all their inherent flaws and capability for cruelty. And, on a certain level, Aziraphale knows that too.

So there we have it, one element of contradiction: Aziraphale wants to think that angels are always Good and Righteous and Never Wrong; Aziraphale knows that angels aren't, in fact, always Good and Righteous and, by god, can they make plenty of mistakes, too.

What else? How about Aziraphale sitting there, being in love with a demon, fully knowing that at the end of the day demons really ain't that different from angels, and also desperately hanging onto the concept of Good vs Bad.

And he sits there, existing with these two contrasting idea equally taking space in his mind, neither side ever capable of taking over the other.

What else do we have? Aziraphale loves God and wants so hard to believe in Her love for humanity and Her ineffable plan, and Aziraphale also time and again does things that very blatantly go against Her will, lies to Her face, and Doubts. He Doubts, a lot, and that requires the capital letter because those Doubts are what spur him in going against everything he's ever told to believe in order to do the right thing.

Aziraphale's very existence is a constant push-and-pull of things he wants to believe and things he knows are real; things he's told to do and things he wants to do. That's how we get "My side" and "there's a bit of good in you" and "you are the bad guys".

And nothing he's lived through has managed to break him out of this unhealthy way of existing quite yet; that's why he acts the way we see him act in the Edinburgh flashback in S2, or at the start of S1 when Crowley has to ease Aziraphale into the idea of trying to stop Armageddon with the usual song and dance of "temptation" and "plausible deniability" and "you'd be thwarting me", even though from the start we can tell there's a little part of Aziraphale who is clearly not at ease with the idea of the end of the world, and once he's been given 'permission' by Crowley nudging him, he is all the way in with the whole saving the world business, not take-backsies.

Both the moments I mentioned here are very important for different reasons, but of the two is very much the Edinburgh flashback that gets a lot more flack by the fandom and is blatantly misunderstood, which I think is the inevitable consequence of that minisode immediately following the glorious, beautiful, heartbreaking piece of art that is the "A companion to owls" minisode.

I've seen a lot of people lamenting that Aziraphale acts obnoxiously in the Edinburgh flashback and, yeah. He does. But I feel like the fact that we are seeing this after watching Aziraphale struggle his way through saving Job's children, even being willing to go to Hell for it, is a though act to follow and probably soured Edinburgh-Aziraphale for a lot of people, made them think that the character had regressed instead of progressing.

But, see, the way he acts is wholly congruous with who Aziraphale is and has always been and keeps being up to the very end of S2. Yes, even after what he does for Job's children.

If you get down to it, Aziraphale had been ready to give up and let the children die, in episode 2. For a brief moment, after Crowley told him he 'longed to destroy the blameless children', Aziraphale was walking away, having tried all he thought he could try to do to stop this senseless act. That was until Crowley tested him by making the crows bleat, cuing Aziraphale to the fact that his impression of Crowley wasn't wrong, and the he could count on him to do the right thing.

To be clear, I don't want to undermine Aziraphale's action by only giving the credit to Crowley but... It is, also, only thanks to Crowley cajoling him and giving him the right excuses, that Aziraphale feels safe in doing what he's always wanted to do all along.

He'd wanted to save Job's children, and thought he couldn't until Crowley threw him that hell of a lifesaver. He wanted to save the world and thought he couldn't until Crowley nudged him on the path of plausible deniability.

He wanted to save Elspeth's eternal soul, blinding himself to the hardships she'd have to endure in her not-eternal life, and was smacked right in the face by the reality of human suffering multiple times.

The way Aziraphale acts in that flashback can't be a regression, because there never was a progression in the first place: He'd always walked the line between Heaven's and God's will and his own, personal morality and sense of justice.

By all means, if we look at Uz-Aziraphale and modern-day-Aziraphale at the start of S1, his reticence about the whole saving the world business should, by all means, appear as a regression as well. You mean to tell me that he'd been ready to become a demon for the sake of three mortal children, and then suddenly a handful of thousands years later when faced with the prospect of the whole world going up in flames he'd just be all like "Heaven will triumph over Hell and it will be all rather lovely"? Like, fuck off, Aziraphale, you lying double-thinker, you (/pos)

Aziraphale constantly exist while being at war with himself. Circumstances have allowed him to rebel the will of Heaven and God more or less safely time and again, but he never quite managed to break free entirely. He'd always ended up being reeled back in, being fed the party lines, being made to feel shame for his independent thinking, until it all becomes too much and he is forced to step back from that freedom he'd been inches away from grasping.

Back and forth, back and forth, never stopping.

And all of this, all of what he is, makes it so hard for us, the audience, to truly see him. To truly grasp him. To truly watch any given scene with him and figure out what he might be thinking or feeling.

To understand Aziraphale is to understand what he is not saying when he says something, which is a good deal harder to do than it is to understand and relate to a character like Crowley, who very much revel in saying exactly whatever the heck he thinks whenever he damn well pleases.

All those layers of obfuscation and misdirection and double thinking that Aziraphale coats himself in are as much an armor that makes it harder for the audience to understand him as they are his very own downfall because, good lord, if you exist like that, if you exist forced to keep things hidden from yourself, well... It's inevitable that at some point you are going to stumble into pitfalls of your own making.

And I love him for it.

So, there? I hope I managed to explain something with this post, and that it wasn't just the rambling of someone who spends way too much time thinking about her blorbos. To be clear, I don't think people who haven't spent as much time as me trying to dissect and better understand Aziraphale's character are like, dumber than me or anything. It's just that this pair of angelic-demonic blorbos take too much real estate in my mind, lol.

Feel free to let me know your opinion and if you think I am wildly off mark and my Take Is Bad. I might answer, I might not, it all depends on time and my mood ◝(ᵔᵕᵔ)◜

[lukolabrainrot]

“Coughlan is keenly aware of how fans’ interest in Polin transcends the small screen.”

What an open to interpretation question that could have so many other possible answers.

Something easily reduced to BTON only: “Penelope and Colin’s love story seemed to have touched many people. I am happy and proud about job done on this season by everyone,” polite, simple, professional, sidestepping any other possible second meaning;

Or still giving shout out to L professionally and otherwise: “I think that is because me and L are just very good friends in real life, who have lots of affection and care for each other. It, I think, translates into our acting and so audience picks up on it. He has been the best costar and supporter for me during this entire process,” clear, generous, sweet, giving an answer not open to interpretation;

Something a bit more direct, to really nip it in the bud, even if the question had nothing to do with shipping now is the perfect moment to put all dots on “i”: “Yes, I am aware of some people’s feelings, but it has always been just very real friendship between L and myself. While it is sweet that people see it this way, love between us while deep and real is just platonic. We appreciate each other as friends and costars and are very happy about Polin’s season success”;

And many other ways that answer could have been given. But what did we get? Talk about marriage, not even between Colin and Pen, but her and L. Talk about gorgeous RELATIONSHIP between a man and a woman. That is unlike anything she ever expects to experience again in her life?? What is it exactly that you don’t expect to experience again N? Because it certainly can’t be anything about another costars, your career is just taking off. Do some people really think that a serious article like this is a done in a fluke, that it hasn’t been edited and revisited multiple times, that if N wished to give any other answer or sidestep that question all together she wouldn’t have? I, personally, am as hopeful as ever, and willing to wait as long as THEY wish to. (lord please let it not be too long or my impatient self is going to burst 🙏 )

Exactly!

Like I mentioned, he is going to very likely live forever in this very important and serious article about her. Just keep mulling that over 👀

And they wouldn't have agreed to this statement (N OR L) in the article if they were about to publicly announce a relationship with someone else. The only other person besides L in her personal life she mentioned was her late father. Like y'all, keep mulling this over. She VERY intentionally chose these two people from her personal life to be included in this important article about her story and accomplishments. It speaks VOLUMES to how she views these two men and the impact they have had on her story and accomplishments. And that is where I will end it.

[meanbossart]

Ask compilation: DU drow, Orin, Astarion, lore things and little fun facts.

Trying to make a dent in this dang inbox. As always, thank you so much everyone for your patience and curiosity! Sorry that it is straight up no longer possible for me to reply to everyone, but I will keep doing my best within reason. Enjoy!

Absolutely! I had a lot of requests for bottom Astarion on my patreon which is why I was kind of on a roll there for a minute.

Though, for the record - I am really not very invested in strict bedroom roles at all. Or clear and distinct dominant/submissive dynamics. So please don't overthink it whenever there's a switch, no pun intended.

You wanna know how often they smash? Man, I don't know, I guess fairly often considering their lifestyle post-game (very active, often on the road).

Assuming that everyone agrees that sex doesn't have to involve penetration, I'd say once every other day or less, really depends on the circumstances though. DU drow's libido is much higher than Astarion's, but he's not an animal and can hold off fine. Astarion is likely to be pickier in regards to location and how-recently-have-we-bathed status as well.

I keep meaning to draw him, but I have like... A million things I want to do 😂 so its rough!

BUT you will at least continue to see him in ANE! And I'm sure i'm bound to draw him again in the future.

[MORE UNDER THE CUT]

If you mean in his bhaalist "AU", where he has the red robe and the extra scars, I imagine he would have gotten it through killing Isobel.

I think as a changeling she probably has the ability to just... Transform her hair however she likes at will, right? And based on her attitude plus some lines we get from Sceleritas about her own former-butler, it sounds like she would be really opposed to being serviced in that way, to me at least.

I see her as pretty aggressively independent with the way she operates, which is another factor that sets her apart from DU drow, who really enjoyed lording over the other Bhaalists and making an errand boy out of Sceleritas, to the point where he practically depended on their help to function.

Neither! I wasn't willing to let anyone take either of my eyes in my first playthrough, LOL.

I have since always given the Volo eye to SOMEONE, usually Gale, but I don't consider that canonical. I don't think anyone was desperate enough to let mister frumpy-hat over there ice-pick their eyes out.

He did do them himself. It was a profoundly stupid display he got caught up in because of Gortash. Also, de-handment is kind of a theme in his life, at least inside his head.

I have a comic about it planned for the future ;)

What do you mean, that's canonical to the game and everything! He loves the cuck chair!

He is an angsty 29-year old in denial. Your interpretation is still perfectly accurate.

Hates the guy. Hates when Shadowheart Astarion people joke about him being the Drizzt of his generation. Hates the guy like literally any countercultural weirdo hates Taylor Swift or the Weeknd. If he saw him at the line in the grocery store DU drow would find a way to roll his eyes loudly just so he could notice being an asshole.

Stay tuned, I'm cooking 🧑‍🍳

If you're asking about game strats, badly, LOL. Pretty sure I died twice to her in my first run and it was a rough way of being thrown into "serious" DnD combat.

With the exception of a couple of encounters that just so happened to turn out SURPRISINGLY cinematic, I'm just realizing that I actually don't think too often about how most of the fights went in real-time! I imagine Autie Ethel's in particular wasn't one that DU drow went into of his own accord, probably rather at a companion's insistence. That's as deep as I've thought about that personally.

Now... Back to game strats. I personally try to get a surprise round on her however I can by sneaking and shooting an arrow or AOE in her general location, since she always stands on roughly the same spot while invisible. I have my companions spread about the arena so we can take her clones down as fast as possible, and as soon as I identify who the real Ethel is I just have the strongest martial characters wail on her until she begs to be let go. Hers is one of the few fights that is actually pretty dang easy at this point for me - and I SUCK at this game.

That would certainly take a while! But, Bhaalist DU drow does kind of have an end goal, actually.

That might also turn into a comic eventually, but it would a rough one.

He pretty swiftly disposed of her, DU drow doesn't like being talked down to, which Minthara very promptly does. Him (and I, by extension) had very limited exposure to her and she was just kind of a speck of dust in his story in particular. Though I have since grown to adore her character in my proceeding runs where I do recruit her!

I guess if he got an invitation and it wasn't particularly painful to arrive at the venue, sure! He would specially love to take Astarion to Gale's wedding ceremony and purposely upstage him at every at every opportunity, LOL.

Yes. He got pretty freaky with the pain-priest. This is gonna sound like a lie but I made him get naked for it without even knowing there was a buff to be gained (I didn't get it, unfortunately, I don't remember whether I failed a check or if I had camp clothes toggled on, so it didn't count as being truly nude). I wasn't taking the game very seriously and just doing dumb roleplay things to see what would happen, LOL.

And I consider that canonical. I think DU drow saw the opportunity to show off his physique And had a strange inkling that this was a practice he was... Somehow familiar with.

Imagine my joy when Astarion and Shadowheart start having a back-and-forth about my absurd display. That's when i knew those were my people, to be honest.

[therantingsage]

Because I promised this, and I really wanted to do it anyway, here's a really really long-winded rambling dissertation on:

Why N and Uzi secretly dating since before episode 5 is genuinely super plausible and also stupidly hilarious /pos

Under the cut cuz it got obscenely long oops-

Idk where to start, so I'll just cover my bases: why people think they've been in a relationship already in the first place.

We all saw this scene:

And legit it can only be implying one of two things. Either A: this is his confession of feelings for her. Or B: this is him admitting that they've been dating for a while at this point. With the hearts it's pretty clear that this statement is meant to be romantically interpreted, and Nori's aghast reaction confirms that that's how it's being interpreted.

Obviously no matter the interpretation, N only writes that because he can't think of anything else to snap Uzi out of it and thereby stop this confrontation from ending poorly. And it works obviously so good on him for the quick thinking.

Two things that make me lean towards the 'we're dating' interpretation over 'confession' interpretation, though: firstly, he's not writing this to tell Uzi something, he specifically calls out to Nori before writing it. "Hey btw I'm dating your daughter" makes more sense than "Hey btw I like your daughter romantically" because if it was the latter, Nori has far less reason to be mad at Uzi about it rather than N. It's not like Uzi can control how N feels. But if they're dating, that means Uzi is partially to blame for that and Nori can get upset at HER.

Secondly, the awkward wording. Like it's really vague and without the hearts you'd have no reason to assume anything but platonic meaning. But these are words we, and him, have heard before:

...from Uzi, in response to a question about who she is and, by proxy, the nature of their relationship. She says it defensively, follows it up by telling N to shut up. N repeating her wording which, again, is a description of the nature of their relationship....but this time implying something romantic with it, it suggests the idea that it had romantic implications the first time.

I don't think it's far-fetched to say Uzi at least has feelings for N at this point in the story. I don't think anyone's arguing that that's not true. But the idea that 'hang out' means the exact same thing both times is what I'm arguing here. They're dating, but this version of N is a stranger to her. A cute stranger, as she says, but a stranger nonetheless who she isn't comfortable admitting to that she's dating him in the future to his face.

Backing up a bit, Uzi's reaction to Nori's reaction:

This is a clear and obvious parallel to the previous episode, when 'Tessa' says "Don't date my robot, please."

In both instances, someone gets on her case about the idea of them dating, and in both cases she doesn't deny it but instead defends both his and her own agency in the matter. No one is allowed to tell them what to do and Uzi refuses to let anyone try.

When Nori says it, though, she does seem to try and deny it for a moment. "I'm not-" She cuts herself off so we can't say for certain what she was going to say (if anything. it's entirely possible she started that sentence with no plan how to finish it, I do that a lot personally). But that's also because, like, she's Uzi. If this was meant to be a secret relationship, it would probably be her who made that decision. And like with butler N, she has no reason to disclose that kind of information to a stranger. She'd probably try and deny it whether its true or not.

As for when it would've started, after camp is the only big timeskip where we don't have much clue went on during. Cabin Fever is a big episode for them, and the three episodes that come after it are all back-to-back-to-back. The only time it makes sense to have started is sometime between eps 4 and 5.

And guys. Guys.

This, more than anything to me, paired with the idea that they've been dating for a while by the time the most recent couple episodes happen.....doesn't this seem so, so romantic? You could easily call this a love confession! So easily! It sounds like one much more than 'we just kinda are hanging out a lot idk' at least.

Like, rephrase that even a little: "Being with you makes scary things fun. Being with you makes me feel brave. It makes me feel safe. So I want to keep being with you."

And Uzi agrees with that sentiment. He promises to stick with her. And she laughs and smiles with him as he makes the scary thing she's been dealing with into something fun, something they can laugh about. The together line gets repeated in the most recent episode, directly calling back to this scene as well.

Like, just...AGH. In Cabin Fever he says it once as they're falling and a second time once they're grounded. The second time its a question, and one she eagerly answers with physical affection, which is super rare for her. In Mass Destruction its a statement, because he already knows her answer. Its a repeated promise. A vow.

Backing up again. Let's assess some interactions under this context. Assuming they're dating in secret. Because it paints so many things in a different light and basically nothing contradicts it which is fricken wild. This:

Isn't a sheepish Uzi trying to hold her crush's hand in a moment of fear. This is an Uzi who wants to keep their relationship a secret but is so in need of comfort right now she's willing to risk exposing them to get it.

This:

Her being so relieved because she almost watched him die but he's alive he's ok and she doesn't care who sees it because she needs to hug her boyfriend rIGHT NOW GUYS I DON'T CARE I'M HUGGING MY BOYFRIEND-

This whole scene. Uzi interacts with him so gently here. She's not gentle with anybody else at all. She sees him stressed and uses his own "you good?" on him and it's just so dang tender when you think about it. Because no one else can hear them talking to each other. It's just these two sending face texts and everyone else's focus is on the Sentinal so they can afford to be as couple-y in this conversation as they want.

And after:

Blushing because they like each other so so dang much.......sweating bullets because the other two can see them do this. Suddenly without either of them really thinking about it they're being romantic around other people and wow! That's nerve-wracking! Peak young love early-in-the-relationship behavior they ain't slick.

His tone of voice in this scene is gentler I think than we've ever heard from him before (Michael Kovach you are so damn good at your job). His loss-filled fury is cooled in an instant when he realizes how close he came to hurting his girlfriend. It's heartbreakingly gentle before 'Tessa' cuts him off.

And when she cuts Uzi off:

He looks like genuinely pissed at her. "Did you really just interrupt my gf while she was talking?? She's scared and you're disrespecting her tf is wrong with u??"

And like- the fact he was genuinely willing to off Tessa for her. Like he realizes there's a possibility she tried to get his gf killed for no reason and upon her not even trying to deny it he just kills her instantly. Because it's no longer a question of the universe or Uzi. It's a question of Tessa or Uzi, and its a choice his heart has already made before this point.

But here's like. The thing about all this that gets me. This is meant to be a secret relationship, right? Like nobody but them is supposed to know about this. And the fact that we the audience didn't have any reason to assume them to be an established relationship without heavy headcanoning means they did a decent job at that, right?

Guys. Guys.

N is terrible at keeping secrets. Like. Horrendously bad at keeping things on the down-low. Every single time in the series he's supposed to not spill info he like. Fails. It's wild. And because the relationship happens after "Inclusive reflexes!" that means that Uzi damn well knows this and still trusts him to try.

But based on V's reaction to the handholding in Dead End:

I'm honestly willing to bet she knew. She doesn't sound surprised, just annoyed that she has to see it. Which means N probably like, heard her badmouthing Uzi or something and got like way too defensive about it and she clocked him instantly. Because he's bad at keeping secrets. And she doesn't bother mentioning it during any of these episodes out loud because she doesn't care what these idiots do in their free time.

Can you imagine how many hundred close calls they must've had? How many times Uzi must've had to aggressively shush him or cover his mouth because he was going to say something slightly too sappy in public? The only reason we don't get to see the time period between eps 4 and 5 is because it would've been painfully obvious that these two dating is the worst kept secret in the entire bunker. I'm going insane.

Uzi fell in love with a proud himbo and they both know it. It's genuinely a miracle they didn't clue the audience in sooner.

[luniarix]

FAVORITE FOLLOWER

ᥫ᭡synopsis : you have a mysterious follower who has been swiping up on your stories to flirt with you, and when you finally stop hesitating to reply back, he’s quick to make sure he sweeps you off your feet. if you let him, of course.

ᥫ᭡NOTE : the texts are a bit cut off, and i rlly don’t know how to fix it since it’s an app thing so :’))) (and don’t mind the dates on the texts(´；ω；`) it was too much of a hassle to change em LMAO) but just know that toji is complimenting you in each text you sexies <333

CW : fem!reader, chubby!reader, shy!reader, fluff, flirting, gentleman!toji, biker!toji, reader being an overthinker, slight angst (reader’s inner thoughts), talks of insecurity and reassurance, long distance!au, texting!au (with some cheesy texts), toji pining after u first o(｀ω´ )o, the bff is up to interpretation of your own gals :-)

a prequel to *⁀➷ 𝙖𝙛𝙩𝙚𝙧 𝙨𝙤 𝙡𝙤𝙣𝙜

“did he swipe up again?” your best friend asks, taking a bite out of the fruit bowl she was indulging in. you chew on your bottom lip, a way to try and suppress your lingering smile as you glance at her. “uh—yeah.” you breathlessly say, staring at the dms between you and another user.

toji was his name. you knew that much by his user and the way friends addressed him in the comments. he was a mysterious person, because although he posted himself, it was never much of his face. he was a biker, and he’d usually post the late night drives he went on. so that means, his helmet was all you could usually see.

but oh god, even if he didn’t show his face, everything else about him was so sexy. you just knew that he was so, so handsome. your best friend never fails to mention that huge possibility when the topic of toji himself is brought up—and intrigues you even more about who he really is.

“what’d he text you?” your friend asks, raising a brow as she sees the way you’re trying to hide the growing smile as you’re staring at your phone screen. you clear your throat, trying to act nonchalant. “nothing, he just said that i look pretty from my story.” she stares at you with a knowing look.

“let me see.” she gets up to walk over to you, curiosity and excitement written all over her face. you bashfully hesitate to show her your screen, but when you do—she’s practically geeking.

“girl why haven’t you replied to him yet?!”she scrolls up to see that he’s been consistently replying to your stories for a while, and you’re looking away from her piercing stare.

“2 and a half months of him flirting in your dms? and you’ve only been liking his texts?babes c’mon!! you should answer him!” your friend playfully hits her hips with yours and you groan. “well i would but—but i just haven’t had the courage to.” you place your head down, folding your arms under your head as support. your friend scoots closer towards you and places your phone right beside your elbow.

“just start by responding to his most recent flirty text to the picture you posted the other day.” you raise your head up again and grab your phone, glancing at your friend anxiously. she winks back at you in reassurance. you huff and slowly straighten your back, staring at your screen as you try to think of how to finally respond to him.

spring had just started rolling around, and the picture you posted on your story was of you in a long sleeve body con dress. you didn’t look anywhere near extravagant, as it was simply supposed to be an outfit out for a arcade night with your friends. but the way toji complimented you, you might as well have been wearing a dress to some gala.

he always had a formal way of complimenting— and if you were being honest, you liked it so much more than what other men were complimenting you with.

u fine asf. u send? and yo u sexy, let me hit pls aren’t exactly what a girl wants to hear as a conversation starter.

you suck in your bottom lip, chewing on the soft skin as you begin to type. you wanted to respond at one point, but with how highly he praised you, you shied away from flirting back as you felt a bit intimidated by him— more so because he was so mysterious and the way he carried himself was intriguing. you wanted to get to know him, truly.

but if you didn’t live up to what he was expecting? if you end up making him pull away somehow? if he wanted more than you could give? if you weren’t enough?

the overwhelming thoughts of overthinking chipped away at your eagerness to reply back, and so you’ve been putting it off. but with the push of your friend, you decide that it’s time to finally pull up those big girl panties and text the man that has been complimenting you in ways that has you swooning over and over again.

you decided that it’d be best to respond with a simple thank you, as you were still nervous as to how to start a conversation with him.

you stare at the screen as you groan, cringing at your own texts as you believed that maybe you should’ve said something different. you began to debate if you should just delete the text and say something else, but the more you thought about it the more you got into your own head. it wasn’t until you see the words “seen” under your texts that you begin freaking out.

“oh my god he’s texting—what the fuck!!” you panicked as you threw your phone across the table and began to fan yourself. your friend stares at you before cracking up, grabbing your phone as she hears a ding. “he texted you back already? girl he want you so bad. hurry up and reply!” she tosses your phone back to you, and you groan as you try to calm your nerves.

this was so stupid, it’s not like this was the first time someone was sliding up your dms—but it was different with him. toji was someone who you’d started crushing on the first time he swiped up. so like, freaking out was a normal reaction no?

“hurry up and check what he said!!” your friend ushers you while laughing to turn your phone back on as you playfully swat her away. you go back to instagram, and you can’t help but get flushed all over again.

you wince in shame. of course he would ask you as soon as you replied back—after all, you did keep him hanging for 2 and a half months while he was basically flirting with the wall in your dms. but he can’t blame you! you liked all of his texts, and you were just too shy (more like hesitant) to respond back until now! he’ll understand, right?

you sigh at the utter arrogance of that thought process. but you had to be honest with him, you knew that. but starting off a conversation in which you explained your insecurities and overthinking with him wasn’t a good first impression for yourself for a man that could blossom into someone more than a stranger—so you decided to give him a short yet truthful answer.

maybe, if (when) you two had the chance to grow into something more in the future, you would answer him in full.

if you were being honest, it’s quite endearing to know that toji’s clearly been waiting for your responses, and he’s now typing back. you tug at your oversized shirt as you let out a sigh of relief.

it was an exhale that you didn’t even know you were holding in.

you softly laugh at your silly overthinking, realizing how much you let the thoughts consume you that you hadn’t even given yourself the chance to get to know toji.

it seemed frightening the longer you pondered the interaction, and you probably should’ve done this a while ago.

after all, the things that frighten us within our minds tend to be less scarier when we’re actually faced with them.

“so how’s the convo with mysterious biker going?” your friend's soft-spoken voice brings you out of your inner monologue. you turn your body slightly towards her as you place your phone down to calm your nerves. they were good nerves, though. you were excited to finally get to talk to him.

a small but glowing smile forms on your lips as you prop your elbows on the table, resting your chin on your palms. "it's going good—and we're getting towards an actual conversation." your friend doesn’t miss how your eyes twinkle with giddiness, and she grins at you. “okay girl, see—i told you you should’ve texted him way sooner.” she gives you a pointed stare and you avert your gaze embarrassedly.

“i know,” you sheepishly shrug your shoulders, grabbing your phone again to look at what toji said. “i might have been holding myself back from letting him in—even if it was for just a moment.” you admit, words slowly dying out as you stare at your screen.

oh my. did he just call you mamas? and he’s been wanting to get to know you? he’s been wanting you? this whole time?

you almost let out a loud squeal, but you cover it up by keeping your fist near your mouth, muffling the giddy noise you made. was it even possible to fold this fast in a conversation? because surely, you knew by now that you didn’t want to stop here.

you almost didn’t even notice the change of texting toji had because of how exhilarated you felt, but you found it so cute as you believed it to be him getting more comfortable with you.

oh, you should’ve—really should’ve—talked to him much sooner. but you shouldn’t dwell on it anymore, as you still ended up talking to him. you begin to type, cheeks hurting from how hard you’re grinning, and your head in cloud 9.

“so,” your friend starts, having you turn your attention to her once again. "i see that you and toji are hitting it off pretty well, huh?" she raises her brows at you teasingly. you laugh, nodding your head in response.

“yeah… i—” you cut yourself off, trying to figure out how to put your thoughts into words. “i thought that it would be really intimidating if i ever talked to him, but i realized that i was just… afraid, i guess?” you timidly shrug your shoulders, because admitting how you felt out loud made you realize how trivial your hesitation actually was.

“now you know, hm?” your friend gives you a warm smile, knowing that the realization had hit you. she doesn’t tease you about it, nor does she make any more comments besides that.

no one should be forced to step out of their comfort zone if they aren't ready to do so anyway.

you give her a toothy-grin, nodding energetically. you were ecstatic—to say the least. “i’m not sure where this’ll go but i really want to take that leap—he’s super sweet and so cute.” your friend whistles in agreement. “look at what he’s said then!”

and so you do.

a sudden surge of warmth blooms and spreads throughout your chest, reaching up your neck and spreading across your face. you were warm, but it (mostly) wasn’t because you were swooning for toji once again—it was because you felt like this was the start of something new.

you had a gut feeling that this was going to be a long, and most definitely exciting new journey. and this time; you weren’t hesitant.

feel free to leave ideas in my inbox or a comment ♡ if i made any grammar mistakes that i missed, lmk! and thank u so much for reading (●´ω｀●)

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[bluebasie]

Hashira Character Analysis Sexuality head canons!!

Since the canon sexualities of the Hashiras were never confirmed and will likely never be confirmed, I have taken it upon myself to come up with a sexuality head canon for each of them based on scenes from the anime, manga, and fan books, etc. This is a pretty large task and analyzing every piece of Demon Slayer media is a huge task so please forgive me if I miss a piece of information that could be interpreted as information suggesting a character’s preference for love! Keep in mind that these are just personal head canon that I wanted to share, and I will include some non-canon ships to show cases of interest. Also, disclaimer, I will not be adding a head canon for Muichiro because I genuinely don't know about him, and I don't think there is enough information about his character loving another and I also don't feel comfortable speculating about his sexuality given his age. But anyways, I will be using a series of quotes, scenes, and situations to come up with each potential sexuality for each Hashira and some may be more detailed than others due to a surplus of scenes or personal bias causing me to pay a little more attention to my favorites. Sorry in advance but I'll try and make it not as noticeable!

Starting with the Water Pillar, Tomioka Giyuu!

Starting off the bat, I really don't think that Tomioka has an interest in women. Let me explain. A huge example of this can be seen in Tomioka’s attitude towards a relationship between Shinazugawa Sanemi and Kocho Shinobu. From season one we can see Kocho’s attempts and friendship with Tomioka and just how unreceived they are despite Kocho's adamant insistence to the point of annoyance. While one could say that he just doesn't like her, it is mentioned during his soba eating contest with Tanjiro in the anime that he definitely does worry about her. Despite this he treats her like an annoyed older brother with an annoying younger sister who likes to pretend they don't care about each other but actually do. Regardless of this dynamic, Tomioka has made it clear he does not always enjoy her forced company, and he has clearly shown a reluctance to try and form a deeper bond with her. On the other hand, while Tomioka is known for being socially avoidant, he actively tries to befriend Shinazugawa where he genuinely breaks his emotionless mask that he's had on for years at the thought of closeness with Shinazugawa. He is shown to genuinely have a deep fascination with Sanemi as seen in his conversation with Tanjiro in the Light novels where they talk about Sanemi and a situation where he asked Giyuu out to eat and he rejected him because he had just eaten. After understanding why Shinazugawa had gotten angry afterwards, he smiles at the thought of Sanemi wanting to eat with him. There is also the fact that in the fanbook when it shows what each hashira thinks of each other for mitsuri it says that he thinks she shows too much skin implying that he thinks it unsafe for her without regard to the sexual implications of exposing her chest and legs due to the skirt. Also, it is said in an extra chapter looking at what each character was doing after the war, it is said that Giyuu and the Uzui family frequent the hot springs which if you didn't know are common in Japan to soak in without clothes. When in the panel at the hot springs it can be seen that Giyuu sits alone away from all of them. This again shows a small glimpse into his potential disinterest in women. Then there is the entire Sabito situation. While it is not said in Demon slayer that Giyuu and Sabito were romantically involved, it is implied throughout giyuu’s entire character story of the impact that Sabito and his death has had and continued to have on his life for years. Giyuu’s interest and want for closeness for both Sanemi and Sabito throughout the Franchise shows his preference for relationships with men rather than women in general. Because of this I would say that my head canon for Giyuu would be that he is definitely a gay man. I don't really think he’s bi just because of his lack of interest expressed in women at all in the entire franchise so I think he is exclusively attracted to men. However is implied in the final chapter that he had a ‘descendent’ implying that he ended up with a woman, he has other family as seen when we was taken away by extended family after his sister’s death and I frankly don't think it’s in character for Giyuu to find and leave a woman pregnant within the three to four years he has left with the demon mark seeing as he has little to no natural charisma and social skills as well as the fact that it would be terrible to leave a woman alone to raise a baby by herself with no close family in the 1920’s but I digress. Overall, I think that based on character interactions my final head canon for Giyuu is that he is gay.

Now onto my girl the Insect Pillar, Kocho Shinobu.

Throughout the franchise it is seen that Kocho seems to have no romantic attraction to any characters in the entire manga, anime, etc. She also is shown to have no want or need for romantic connection due to her priorities is not only demon slaying but also running a hospital and planning her own death after being blinded by the idea of revenge on the demon who had killed her sister. It is also seen that her character largely revolves around family unlike Giyuu’s character revolving around friendship/love for others. Shinobu’s motives and relationships revolve around her sisters, Kanae and Kanao, as well as Aoi and the butterfly triplets. She also seems to hold a connection with Inosuke as a sort of mother figure. Clearly, we can see that Shinobu places a higher emphasis on family, including found family, which shows her character prioritizing care for platonic relationships. She also seems to not care for romantic relationships for the future because she never planned a future for herself with her plan being to sacrifice herself to kill Douma to avenge Kanae. It is clearly shown that her priorities lay in the family she has collected over the years and creating justice for the family she has lost including her sister and the fact that her reasoning for becoming a demon slayer was the impact of her parents' death. Overall Shinobu does not have any romantic feelings for others being too clouded in her mission to kill the one who had killed her sister, and she never planned to find a partner one day due to the fact that she never planned for another day after the infinity castle. Because of her preference for platonic relationships, lack of interest in romance, and opposition to sexualizing herself as seen when she burns the original female uniform given to her, I think she is aromantic asexual. This head canon is very dear to me despite not actually being aroace myself because of her serious priority to her family that just isn't seen often in shonen media with girls who are never shown to be interested in romantic love and instead have their own story and goal to focus on. If you couldn't tell at this point, I really love Shinobu’s character.

Now I'm moving onto the Sound Pillar, Uzui Tengen.

To start us off with the obvious, Uzui is polygamous. This is cannon and not a head canon so we can add that as a fact so moving on to beyond his polygamous status I guess I am mainly interested in if he is only attracted to women or also men. Right off the bat, purely based on speculation, I would say that he would be open to something like that just due to his openness to ideas that were not common during this time period or in his communities as well as his preference for the extravagant, in his words flashy. This can not only be seen with his polygamous relationship but also with his insistence that his wives put their own lives before others which was practically unheard of in the shinobi communities that they all had grown up in. While this took a long time to adjust to for Suma, Makio, and Hinatsuru, Uzui was open to this new life priority seeing as he was the one who had come up with it. He is also seen to be open to multi-gendered bathing in the hot springs with his wives and Giyuu which could further the point that he has no preference for gender or things like that and that he just wants to have a flashy time. One final thing that could possibly point towards his lack of preference could maybe be the fact that he puts a lot of emphasis on his looks. While during this time period men usually didn't wear makeup, jewels, paint their nails, and wear shiny clothes, Uzui disregards social norms to be the best self that he can so this could possibly point towards his lack of care about love between the same gender because those things just would not matter to him. Because of his supposed ‘lack of care for gender’, I definitely think he likes both genders, but I also do think he has a slight preference for women for whatever reason due to the fact that he has three wives obviously. For Uzui’s final head canon, I would say that he’s bisexual with a slight preference for women.

Now going on to the Flame Pillar, Rengoku Kyojuro.

There also isn't much to see about relationships between Rengoku and other characters but based on his dedication to his family's traditions through Hashira lineage, breathing style, and estate, I do believe that if Rengoku was to stay alive that he would have wanted to find a wife and settle down at some point like his family before him. He is shown to love being around his mother and taking care of his brother so I can definitely see him growing to be a huge family man who just loves his wife a lot. There was a small quip in a fan book where Rengoko refers to Tomioka as handsome, but it honestly just felt like a supportive bro thing where he doesn't feel ashamed to compliment his friends. Rengoku’s relationship with mitsuri could be somewhat evidence that he does not feel much attraction for women but obviously he's not just going to be into every woman he sees, and he clearly views mitsuri as a younger sister. This only proves his family man status even more with his care to those who are younger than him. Due to his constant support of others and traditions of a traditional family I feel confident in saying that Rengoku is the number one Straight ally. He would totally be supportive if any of the Hashira ended up getting together with a person who is the same gender as themselves.

Moving on to the Wind Pillar, Shinazugawa Sanemi.

Shinazugawa is one of the characters who have seemed to show interest, whether romantic or other, but interest nonetheless in both men and women. It is seen in the fan books and the light novels that he was interested in Kocho Kanae when she was alive stating that being with her made him remember his mover and his infatuation with Tomioka over the span of the series with him getting distracted by the sound of his voice, getting visibly worked up over even the smallest of actions that he does, encouraging him in the war, and being seen having a close relationship after the final war arc. Sanemi is shown to be a very expressive individual who feels a lot of feelings towards others and some of those feelings I would say are feelings of attraction, infatuation, and even love. Sanemi is also shown to be very defensive of his feelings as seen when Tanjiro walks in on his and Tomioka’s fight which is seen to be very unguarded and raw with it being a direct expression of everything Sanemi was feeling and everything he wanted to express. However, when Tanjiro views this exchange Sanemi immediately jumps to the conclusion that Tanjiro was ‘spying on them’ as if this fight was meant to be hidden and private not for the eyes or knowledge of anybody besides Tomioka. It seems to me that Shinazugawa clearly knows what he feels about Giyuu and he is scared of it and tries to hide it from others and also himself. He ends up losing this guard after the war though when it is seen that he goes out to eat lunch with Giyuu after sorting out the miscommunication between them over the years. Because of his intense feelings towards people who are both genders, I would say that he is definitely bisexual. I don't know if he has a preference and what preference he would lean towards if he had one but for now I'm just going to say that he is bisexual.

Moving on to the Stone Pillar, Himejima Gyomei.

This one is pretty simple, I think. Gyomei is a Buddhist monk so that means he is celibate. This essentially means that he would not have a romantic partner or have children in an attempt to forward his path to enlightenment. He has never shown romantic interest in anyone throughout the span of the series, so I think it's safe to say that he is Unlabeled? I don't want to say that he is aroace because I don't know if he has romantic feelings but just doesn't act on them or if he doesn't have them at all, but I guess it would make sense if he was on the aroace spectrum. I think either aroace or unlabeled would work here and are headcanons that would make a lot of sense.

Next, we have the Love Pillar, Kanroji Mitsuri.

In connection to her breathing style, Mitsuri is a very expressive and loving person to people of all types. This does also include women as well. In her character introduction in the first season this is explicitly shown where after every character introduction of the other Hashiras Mitsuri would include a small quip about some words of admiration, she has for them including Shinobu. While Kanroji did join the Demon slayers for a husband, I think that she actually does have love for everyone regardless of gender and she just really wants a husband specifically because of social norms and the fact that she wants somebody who is stronger than her and while there are very few men who are stronger than her there are few women who fit that standard as well. Other than that, I don't think that the LOVE Hashira really has a preference for gender, and she just feels a small attraction towards everybody. I think that she could be pansexual or at least under the bisexual umbrella if anybody believes she has a preference towards one gender, but I think she just feels a good amount of love for everybody and everything with a high surplus for Iguro and therefore pansexual!

Finally, we've got the most difficult to understand in my opinion, The Serpent Hashira, Iguro Obanai. 

Iguro has got quite the history with a distaste towards women due to the trauma he had endured during his childhood. His lack of romantic affection had been carried with him for his entire life until meeting Mitsuri when he fell head over heels for her. Iguro’s love for mitsuri has frankly made it pretty difficult to understand or come up with a headcanon due to his disinterest in literally every one besides her. I don't think he would ever love another woman or show affection to another man which makes it difficult to come up with something. I guess I could say that he is unlabeled because he literally does not love anybody and has never loved anybody besides Mitsuri before. I could also say that he is Asexual because as seen in his entrapment, the fascination the snake demon had of him, her watching him at night, and his family overloading him with overwhelming food he did not want. This could all be seen as an allegory for sexual assault and/or grooming as a child and that might have caused him to want to avoid anything sexual and therefore I think it could be very possible that he could at least be under the asexual umbrella. 

That was a lot of writing so thank you if you read this far! Keep in mind that these are head canons and if you disagree on anything please don't start a war in the comments or anything. Please. Anyways I would love to hear your own head canons and what you think of this small character analysis! 

[lnsfawwi]

bucky is anti-peggy: their relationships with steve and why bucky will always overshadow peggy as love interest

hardly anything novel but I have to get it out of my system. interpretations are strictly in-universe just to be fair. also seb headcanons are canon, I won't hear otherwise!

the difference between stucky and steggy can be summed up by their respective reactions to beefed-up Steve. someone on tumblr points out that these two scenes also serve as analogies of their relationships. steggy would always be about peggy reaching out, their relationship would be under the spotlight, be the center of attention while stucky is the reverse. I just want to add to that.

Peggy was literally dazzled, she tried to touch his naked body, she was eager to see what this body could do (sexually, among other things). that's the first time she saw steve as sexually attractive, the first time she saw steve at all if we are honest, and what she saw was this jacked-up version of him, an icon-to-be, someone whom steve never really accepted as himself. In essence, the first time she really paid attention to steve as the love interest, was the moment steve became someone else.

Bucky, who was tortured for days, if not weeks, still delirious, was confused bc that was not his steve, he probably didn't even think Steve was real at first. Bucky was experimented on, he likely knew there were similar human experiments aimed to enhance, he knew science like that was possible, but whose science? so that's the first question, 'what happened?' Steve joined the army, okay, so this was not forced onto him, probably. then the next thing he asked was, 'did it hurt?' he didn't care how strong it made Steve, he only wanted assurance that Steve was fine. like, what if the process hurt? what could bucky possibly do? nothing. it's not about whether it hurt, it was just bucky simply giving a shit about steve's wellbeing. we don't even need to get into the 'little kid from brooklyn' line.

peggy witnessed a magical transformation and was amazed by the eventual product but bucky saw his best friend who must've gotten through something excruciating. peggy could never fall in love with skinny steve when that's all bucky saw, until the very end (sebastian said bucky probably never got used to big steve).

another contrast would be the final plane crash. sebastian was asked whether Bucky would've gotten on that plane with Steve or stayed behind like Peggy. seb's answer is that Bucky would've tried to get on that plane cuz he felt responsible for steve, and he'd fall again.

the thing is that, had Bucky been on that plane, Steve never would've crashed it. he would've done anything to save Bucky. he didn't have to crash that plane which was canon (pointed out by rhodey). steve could've got out but he didn't. Bucky being there would've given him the motivation to do so. any other person would tbh, but only Bucky would be willing to be on that plane bc Peggy canonly wasn't. in addition to bucky's willingness to follow steve literally into the jaws of death, in this hypothetical scenario, Bucky would be the reason for Steve to live in catfa.

that leads to yet another contrast.

'just go! get out of here!' 'no, not without you!'

steve, who had no idea what he was capable of, jumped through fire for bucky.

'don't do this, there's still time, let me find a way...' 'a lot of people are gonna die if I don't do this, peggy. this's my choice.'

despite peggy's pleading, steve crashed the plane.

the word choice appeared several times in catfa. the first time was when peggy told philip that it was steve's choice (to die trying to save bucky). the second time was when peggy told steve that bucky made a choice (to die fighting with him). and the third time was when steve told peggy it was his choice (to sacrifice himself). it's no coincidence that each and every time the choice was each other, steve echoing the word at the end made it clear that he was doing this for bucky.

a relationship goes both ways. steve and bucky are canonly willing to, and did, die and live for each other. peggy simply doesn't have that level of impact on steve. in fact, steve literally repeatedly chose bucky over her in catfa.

put it simply, bucky and steve care more about each other than themselves, peggy didn't even care about skinny steve in that sense. she also literally couldn't because she only met skinny steve twice. briefly.

plus as I said previously bucky is the only one standing in between a traditional cishet hypermasculine image of steve and the real steve, peggy is the one element that fulfils the false image.

everything bucky is, peggy is the opposite. the differences quite literally result in different interpretations of steve. and who can say honestly that endgame steve is better than cap trilogy steve？

[rosescries]

Excuse me while I scream a bit about The Rehabilitation of Death by @bamsara for a bit, about something I think I picked up but haven't been able to put into words. Some of it they've clearly talked about before, and the rest I may be completely wrong about.

Maybe this is some of my interpretation of the Lamb and Narinder, but Bam's influenced a lot of that for me when they dragged me kicking and screaming into this fandom, but shh!

They've talked about love between Narinder and Lamb before. Their devotion to and respect for each other, and just how much they care for each other. I think Trod Bad End says a lot about that. With how Narinder is ready to burn the world down just to bring the Lamb back, and I'm sure the Lamb shares some of, if not all, the same feelings.

But their love has claws and teeth, I think it hurts them just as much as it uplifts them. It's blooded and a gaping wound, aching and there's nothing they can really do about it. Not that they'd probably be willing to do anything about it. And I think some of that hurt is just caused by their grief.

Narinder's already been betrayed by his siblings, siblings which he did love. Dearly, in fact, and still does no matter how much he denies it and how angry he is. He would've killed them, if not for the Lamb, but he's still keeping them. Hurting them, but they're in his reach. He's not letting them go, keeping them close and alive in some way. I don't think he could kill them for real, or would be happy if he did. They loved him too, I'm sure. As proven by Shamura sending him gifts and the offerings left on his alter. There is love lost here, whether Narinder or any of the Bishops are willing to admit it or not.

He loves the Lamb just as much, which is why the betrayal hurt so much. I think he's lashing out at the Lamb just like he did with his siblings. A fresh wound left to fester ripped open all over again. It hurts, and makes it seem like everyone in his life is eventually going to turn around and stab him in the back. He lost his family, and it seems like he's loosing the one he loves too. Even if it's not true, that's probably how it seems.

And the Lamb is the last of their kind. There's no one else like them anymore, their loved ones are gone. They lost their family, and isn't even really able to grieve them before they're sent on this mission to kill their tormentors. But that does give them an outlet, something to quell the rage for a little bit at least. And a bit motivator after a while. Along with a new family.

The Lamb loves Narinder, there's no real question about that. But their love asks them to kneel and sacrifice themselves to him, and they can't. They can't do that. They don't know what Narinder had planned for them, they couldn't have known. But the person they love is asking for something the Lamb just can't give him. They love him, but this isn't something they can bend on.

I'm running out of words and I don't know how to put my thoughts on Lambert down. But I think they parallel Narinder in a certain way, and grief is some kind of motivator for both of them. I hope I made some kind of sense here, and may just be reiterating something that is glaringly clear or talking out of my ass.

Anyway, if you haven't read Trod, go read it right now. It's really good.

[jiecomic]

Chapter 1- The contract

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Red Son walked through the corridor with a mischievous grin on his face chuckling to himself, right before his mother's room he cleared his throat and walked in slamming the doors into the wall.

" Mother!" He jelled as soon as he kicked the heavy doors "I think I found it!"

Iron Fan turned to her son and looked at the roll of paper which was in his hand.

" Finally..." her red lips formed an evil smile

The women moved to her son and took the paper before Red Son was able to say anything.

"After all these years..." she started to unroll the map "After thousand years my love will be able to come back to living!"

She stared with a flaming gaze at the red marking on the map.

" How are the preparations?" Iron Fan turned to her son with a face full of enthusiasm

" Everything will be ready within a month" Red Son smiled showing all his teeth

"Great" Iron Fan nodded and with a map in her hand she came closer to Red Son "Soon your father will be free again and we, the family of Demon Bull King will raise and rule this world!" She started laughing at the end, soon her son joined her.

The son and his mother were so absorbed in their 'villain moment' that they didn't realise... that they weren't alone....

Just under the ceiling, in a small crack, there was a spy who followed their every move with its red eyes. As quietly as possible the little creature disappeared in the darkness leaving only a small cloud of pink dust...

Jie sat on her cough as soon as she teleported to her house. She buried her nose in her hands letting her elbows rest on the table, after spending a few minutes in this position, she lifted her head. She was emotionally tired but tears still didn't stop flowing from her eyes.

Her lips were formed into something that looked like a smile of a person screaming inside of their head.

"It's all over..." she whimpered quietly, her voice was pretty dry from exhaustion

" Goodbye my old, uncomfortable cough" she whined while trying to stand on her two feet, after that she moved to the coffee table "Goodbye you piece of wood... I'll never forget the pain you give me when I hurt my toe on you"

Then she moved to every other furnitures in the room, then to the kitchen and even a toilet, at the end was her animal which was... well let's say that it was hard to interpret it's race. But for Jie it was a dog, and that's the reason behind his name.

" Gou..." Jie hugged a little beast in her arms still crying like a baby, Gou probably didn't understand the atmosphere since he was only chewing his tail while Jie continued her goodbye " Listen your little demon, your gonna be better without your mom, ok? I-I hic...hic... I left you your favourite snacks and...sniff... and put my picture near your bed so that you wouldn't cry after meee!"

She left him at the floor and got her luggage from gods know where.

" Goodbye, thank you for staying by my side all those years but... You'll going to be safer without me!" She said as she opened the door of her house

Just before taking the first step she froze due to the sudden realisation...

'I have nowhere to go to...' she thought while closing the door

With that Jie decided that leaving her home and bab- *ahem* pet... wasn't a good idea so she started unpacking.

***

"I'm gonna fight them!" Jie stood up pointing her fist to the ceiling " No... Princess Iron Fan will kill me in a second with the help of that lunatic son of hers..." with that thought all energy left her body "Would be much easier if my powers weren't sealed away" she scratched the back of her neck while swearing at the Jade Emperor in her mind.

" That's the end huh?"- she looked at her photos on the wall, all with her and Gou. Some were taken on holiday, some on a beach, the cutest one was with her and Gou celebrating her 2000 birthday "Well... maybe I didn't deserve more than just those thousand years...WAIT!

Jie suddenly stood up all filled with energy from her toes to head "There is a way!"she stood like that for 3 seconds " Cause... He will help me right?" She started to question her decision.

'There is a way that he will agree... although...'

Suddenly she felt something pulling her dress. When she looked down Jie's eyes met the innocent gaze of Gou.

A smile had slowly appeared on her face.

"Don't worry Gou..." She crouched to pet her dog "Till now I have been only hiding, it's time to fight for my life!"

With that thought Jie snapped her fingers and teleported.

She felt confident with her decision and was ready to stand before a great sage.

***

Jie wasn't confident anymore.

She was standing on a beach of Flower Fruit Mountain (the farthest she could teleport to) questioning literally every of her life choices that leaded her to this damn mountain.

" Maybe moving out wasn't such a bad idea..?- It's not like I was never homeless anyway..."

Right when she was about to go back Jie noticed that she wasn't alone.

"Gou?!"

'Damn it! I had to bring him along by accident!'

The dog was so excited about visiting a new place that he ignored his owner and ran into bushes as fast as he could.

"Wait!"

"Gouuuu!"

"Whyyy are you doing this to me..!"

And like this, the great chase had started!

(By the way Gou won)

***

Without realisation Jie had entered the secret cave of Sun Wukong.

She had no idea how had she been able to break the seal, but probably thanks to despair.

" Gou..." she whispered as quietly as she could "Gou..." this time a little bit louder

Woof!

Jie's heart almost escaped through her throat when Gou had answered to her call just next to her.

Now when she didn't have to worry about her pet Jie looked around.

Judging by the state of this place there was NO WAY that the Monkey King would still live here.

At least that's what Jie hoped for.

'I've got so far, it would be a shame to not at least try...'

She cleared her throat and took a deep breath.

"MONKEY KING!!!"

"Are you here!?"

When her calls started echoing through the cave she started counting to three in her mind.

'One'

'Two'

'Three...'

"..."

"Looks like he isn't at home, well what a sha-

"HI THERE!"

At that moment Jie's heart really jumped to her throat.

She made a few steps back trying to calm herself but when she saw HIM her instincts were ordering her to run as fast as she could.

"M-Monkey King?!"- she jelled while looking behind at a specific monkey

" Yeah!- the one and only!" He answered proudly

"But..." he moved closer to Jie and looked at her as if he had a scanner in his eyes "Do I know you...? I don't remember fighting you..."

"You're right" Jie was finally able to say something "My name is-

" What are you here for?" The monkey cut Jie off as if he was already tired of her presence

"I'm here cause-

" You want to fight?"

"NO!"

" You want an autograph?"

"No, I-

" You came here because you feel like a tiny piece of dust in a big universe and you seek for a reason of your existence?"

"...No..."

" Aha! So you came here for the peaches of immortality!"

"WHAT?!- wait, why do you even have them?-BUT NO! I'M NOT HERE FOR ANY PEACHES!"

" Then you are here for-

'Gah! This will take an eternity!'

"Forgive me for interrupting you, but I'm not here for a fight, an autograph, a philosophy lecture or some magic fruits!" Since Monkey King was FINALLY listening to Jie, she decided to use this chance "I mean no charm, ok?"

Chomp!

"..."

"..."

" Is this thing yours?" Wukong asked calmly while raising his arm, his arm with such a beautiful, yellow sleeve made from an old, expensive fabric...which Gou was trying to eat...

"It's my dog"

"Take it away until it's still in one piece"

"Yes sir…"

Thankfully Jie was able to stop Gou from chewing Monkey King's clothes.

Wukong was checking his sleeve's condition while Jie was sweating and screaming in pain (mentally).

" I'm sorry..." the demoness muttered quietly. Since Wukong didn't seem to be angry and was a little distracted she decided to finally have a serious talk with him "I'm really sorry for interrupting your peaceful time, but this is half of why I'm here. You didn't know about me till now even though I was living in this city for hundreds years because I was hiding from you. You and every other being that could kill me while all I wanted was a peaceful life..."

She looked at the monkey to see if he pays any attention to her. Thanks gods he seemed pretty interested in her speech.

" As you can see I'm a demon, that's why for many years I was doing only what was expected from a monster, then I faced the consequences and... lost everything... but thanks to you, for the last thousand years I was able to finally live my life the way I wanted.- And I don't want to lose this. The family of Demon Bull King is planning something and you're aware of that. So please... in order to keep our peaceful lives, please... let me stand next to you"

Jie bowed her head and waited for Wukong’s reaction.

" So you want to be my ally? Don't feel offended but... you don't look too strong"

That actually hurt Jie's pride but it didn't take her long to recover and continue

" Unfortunately you’re right, half of my power was sealed away long time ago, but believe me" she looked up at him with a red light in her eyes "If you give me an order I will show your enemies the true fury of the fox demon"

"Ha... sounds more like a servant than an ally" at the end of the sentence Wukong grinned

" If that's who you want, then I'll fit in that role"

The Monkey King seemed to consider Jie's offer.

" Come to think of it..." his face started to show a little bit of excitation " I'm a king... but all I have is a group of a little cute monkeys..." He looked at Jie again. She could tell that he was using a golden sight on her. It really felt as if he seen her through at that moment.

"At least five tails your hiding huh?- he chuckled quietly "ALRIGHT! Since now youuuuuu...."

" Jie"

" JIE, are under my command! As a servant of a great Sage equal to heaven, The Monkey King- Sun Wukong!

Wukong stood in front of a kneeling Jie while lifting his arm as if to reach the demoness, as the air between them became tense and a strange string of golden light connected their wrists Jie knew that the ritual of contract started...

The contract between demons isn't a normal contract. It's like an exchange. A servant gives their live and loyalty to their master, while master shares a little of their power with them. The thing is that only master can break the contract.

At that moment Jie was able to feel the power of Monkey King running through her veins.

' Such a little power and I already feel like my body is about to explode...'

She also allowed herself to look at Monkey King's soul orb.

You see, Jie has a special ability that allows her to see the souls of livings trapped in an orb. With that Jie could always recognise the power, personality and sometimes the intention of the soul's owner.

There is not such a thing like two identical souls but Jie had never seen a soul like Wukong's. It was bright to the point when she though she's going blind, so hot that it could burn her if she had ever reached for it, it was big and it's shape was changing every second as if someone put it into a fire. All because this poor little orb couldn't contain the full strength of the great Monkey King.

' He really is dangerous...'

' But that's good'

Jie suddenly felt an ache on her wrists, she looked at them and saw the two golden rings around her hands.

' Like a chain'

"Is it done?" Monkey King broke into Jie's thoughts "I've never done this before..."

Unconsciously Jie started rubbing her neck, where a jade necklace was hanging. Or, how she liked to say- her death threat.

"Don't worry Master... Everything is just as it should be"

There was no way for Monkey King to know it back then but Jie hid something important from him... the fact that if she found their contract inconvenient for her she could easily break it. Which gave her an advantage.

'There's no way I'll let him use me, for the sake of my life I will never let anyone do that again...'

"So... when are you going to strike the Demon Bull King's family?" Jie asked as if she was ready to cause chaos and beat some demons with her new powers, now she was confident to win against Princess Iron Fan!

"ME?!"Monkey King started to laugh his head off "Nah, I won't even lift a finger!- I'm retired! "

Jie looked as if someone had turned her into a stone "T-Then whose gonna fight the Demon Bull King?!"

"Well, my successor of course!"

"..."

"Excuse me?"

This way the great Monkey King managed to destroy all of Jie's hopes in one sentence

End of chapter 1

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[michanvalentine]

Things about Vincent Valentine that I read around and piss me off. Vol.2

"Vincent was too shy and passive. He is an idiot."

Usually in reference to his attitude towards Lucrecia after the breakup. As if he could somehow save his relationship with her (and thus prevent everything else). I say yes, perhaps he could have sought further clarification, but for me the situation has never been so simple and linear.

Ok, let's start from the beginning. First of all, Vincent is a sensitive and intelligent person, with an above-average education. A person who thinks a lot, even too much. So calling him an idiot, especially in such a context, is really having a superficial reading of the character. Honestly, this statement bothers me a lot even when it is extended to the other part: Lucrecia. But that's another story... Secondly, let's remember that the two had a real relationship. In DoC Vincent was never a sort of stalker fixated on Lucrecia despite the unrequited love, as he might have appeared in the OG (unless the remake wants to tell yet another story.) Even Hojo was aware of their love story, in fact when Lucrecia pronounces the fateful "Yes, doctor" he says: "So you've come to your senses and chosen me." And I don't think Hojo was exactly the type to care about gossip.

That said, I would add my interpretation on Vincent's "passivity". A while ago I read a comment, something like: Lucrecia went with Hojo to gauge how much Vincent cared about her, since she thought he hated her due to the Grimoire's death. So she was waiting for Vincent to react and take her away from Hojo, but Vincent was just too shy and passive to do something so outrageous. I couldn't help but respond to this comment like this: This would be a really sick way of demanding attention. In this case Lucrecia would be truly mentally ill and Vincent would simply be a sane person who behaves properly. I believe there are several biases in this regard. First and foremost, the old-fashioned concept of Prince Charming rescuing the damsel in distress. Which I hate. Secondly I don't think Lucrecia left Vincent because she thought he despised her for the Grimoire incident. Otherwise she wouldn't have needed to push him away, because in that case Vincent himself would have been the one to leave her. No, the reasons are different:

Feelings of guilt led her to think she couldn't be by his side. As if Vincent didn't deserve someone as bad as her in his life.

Every time she looked at Vincent, given the extreme similarity, she saw Grimoire again and remembered the event that had traumatized her.

Obviously Lucrecia didn't put Vincent to the test, she was determined to put as much distance as possible between her and Vincent because she felt it was right for him and too painful for her to continue. Stop. The relationship with Hojo is an addition, but also desired for other reasons. She neither expected nor wanted to be saved. Not to mention that Vincent is not Lucrecia's father and had neither the responsibility nor the duty to do so. She is an adult. Certainly, by breaking off their relationship, Lucrecia has also made a decision for Vincent. He didn't object, he passively accepted and stepped aside. But are we sure he could have done otherwise? Are we sure he could change Lucrecia's mind? How exactly? Young Vincent was naive and introverted, but Vincent's passivity in this case was also determined by other factors. Maybe he could have made his feelings about Grimoire's death and about Lucrecia more clear. But at the same time I think it wasn't necessary, because they were obvious. It's Lucrecia who no longer knows what her true feelings are. And she will only be able to clarify them for herself later, in fact at the end of DoC she will confess to Vincent: "I finally realized my true feelings. Even if you may never understand them".

But let's analyze the facts and see how they unfolded. Given the above, at first Lucrecia was so focused on herself due to guilt that she was numb to everything else. Even to Vincent. In DoC, when Vincent discovers the file on Grimoire, Lucrecia yells at him to "stop it". She doesn't want to listen and at the same time she doesn't give him a chance to express himself. Likewise, after apologizing to him, she ran away without giving him a chance to reply. And let's remember that out of the blue he was left by the love of his life for no valid reason, at least from his point of view. Not to mention that Grimoire's death must have been painful for him too. Reacting is not easy when you are confused, grieving and heartbroken. From that moment on, Vincent Valentine was completely cut out of Lucrecia's life. Lucrecia keeps him at a distance, due to points 1 and 2 above, and as a final barrier she puts Hojo in the middle (of course, the scientist is there too for other reasons). In the scene around the table, when Vincent asks her "if she's sure", Hojo really seems like a wall between the two that still prevents direct confrontation. And Lucrecia appears clearly angry that he has come forward with objections. At the Shinra Mansion Vincent Valentine seems to have no say in anything. Lucrecia doesn't give him the chance to argue, Hojo first rudely silences him because he's just a Turk and then definitively closes his mouth with a bullet. But even if silenced, Vincent's feelings and intentions remain evident. Even Hojo knew them, in fact when he discovers that Lucrecia is experimenting on Vincent's body he says: "How happy this fellow must be. Helping his beloved even after he's begun rotting away." Lucrecia herself, through her data, at a certain point in DoC will say: "I pushed you away, but… now I realize, I never wanted to lose you." And again later: "I made so many mistakes. And I hurt you so, so much. Why did I do what I did?" Deep down Lucrecia knew she had pushed him away for her own personal reasons, and not because he despised her or anything. She knew she had made a mistake, of having been blinded by fear and guilt, that she had mortified his feelings and that she had made him suffer for it, especially because the breakup had been practically forced on him. So I repeat: should he continue to chase Lucrecia, proclaiming his love like a crazy in the hope of changing her mind? Let's pretend he had the opportunity (always excluding kidnappings or ambushes). He could have to, yes, but in addition to reiterating the obvious and saying things already known even to the person concerned (after all, if there is something imperishable, capable of overcoming pain, time and even death, it is the love that Vincent Valentine feels for Lucrecia), she probably wouldn't have listened to him anyway. Because, as Vincent would say, "she was always like that, only believing what she wanted to."

[actual-changeling]

On unhealthy relationship dynamics

A little while ago, I stumbled across a post discussing Aziraphale's character on a meta level, and without knowing the content, I was completely unprepared when one single sentence pushed me from 'uncomfortable but doable' into 'triggered and panicking'. The post itself was triggering from start to finish, but that phrase stood out to me.

Why am I telling you this?

After calming down and thinking about it for a few hours, I realised what exactly my brain had reacted to—victim blaming rhetoric repackaged to fit Aziraphale and Crowley's situation. Victim blaming is, to provide a short summary, the act of putting blame for mistreatment on the victim instead of the perpetrator. It's a concept often used in r/pe discussions, but it can be applied to any abusive or non-abusive situation as long as a power imbalance is created, meaning you have at least one person harming another in whatever shape or form.

If you broaden the definition, you can apply it to more situations, including—and this is where we reach the actual topic—their relationship and the Final Fifteen (F15).

That is exactly what some people have been doing—putting all the blame on Crowley and absolving Aziraphale of any and all responsibility as if it were his fault that Aziraphale broke his heart

Before anyone runs to the comments, let me clarify what I assume will be the FAQ.

no, I do not think Aziraphale is abusive

I do not think that their relationship is abusive either

no, I do not hate Aziraphale

yes, I know what I am talking about

everything I will talk about is largely based on what we as the audience actually see and know, combined with interpretations of the intentional subtext Neil wrote into the show.

I have been actively in this fandom since the second season was released, and I have seen a lot of (hopefully accidental) ableist & generally insensitive takes. These are the ones I see the most and what I personally consider to be important topics of discussion, but the same logic I will be applying to these can be applied to many, many more situations.

Since my meta posts get very long very quickly, I will be posting them in parts and always linking back to the others, plus this one as the masterpost.

Part 1—Nice Is A Four Letter Word

The basic pattern is this:

Aziraphale refers to Crowley with a 'nice' term -> Crowley gets upset and tells him to stop -> Aziraphale hears him but continues anyway.

There are reasons behind Crowley's rejection, and I will go into detail, but I want to make one thing very clear: It does not matter why Crowley asked him to stop. He set a boundary, and Aziraphale repeatedly and intentionally overstepped it; this causes understandable anger and frustration.

Crowley does not owe Aziraphale an explanation, just like you would not owe someone an explanation when you don't want to be called x-term. Mutual respect requires the acceptance of personal boundaries like that, and by breaking them over and over again, Aziraphale tells Crowley that his own wants are more important than Crowley's needs.

In the 1827 Edinburgh flashback, we see the consequences of Crowley doing good/being called good (which are usually connected, meaning if they notice someone is calling Crowley good, he most likely did something to cause that) firsthand, and so does Aziraphale. He gets dragged down to hell and tortured for up to thirty years.

Even before that, Crowley expresses numerous times how hell punishes good deeds, and they are 'always listening' in on him. You would assume that Aziraphale would stop to keep him safe—and yet he doesn't because he cannot accept the reality of Crowley's situation and refuses to listen to him.

On top of that, Aziraphale only ever "praises" Crowley when he does something he personally sees as praiseworthy, aka something good/kind/nice/angelic/etc. but never when it is something that CROWLEY would like to be praised for, or at the very least acknowledged. We see it in season 2 over and over and over again: Aziraphale cares for no one's thoughts or plans except his own and has no interest in even hearing Crowley out.

Aziraphale calling him nice is not a sweet little gesture, it is an intentional overstepping of a boundary Crowley has been trying to enforce for centuries, and it reinforces the dichotomy of good angels/bad demons, with angelic existence being the ultimate goal. At the very least, it's disrespectful towards Crowley, and at worst, it is actively keeping Crowley in a trauma response, tugging on his leash whenever he tries to explain reality to Aziraphale.

To have a healthy relationship, Aziraphale needs to stop.

part 2 - part 3