#and i feel you can interpret their actions in different ways

[audi0med1c]

^^^all of this - it’s like enjoying watching a movie you’ve already seen with someone who hasn’t because you want to experience all their raw reactions/emotions all over again for yourself.

***I wanted to write a purposefully morally questionable / ambiguous story because I enjoy hearing different people’s perspectives on my toxic characters. Because everyone is or can be toxic in some sense. We all think our actions are justifiable from our own perspective but life is NOT so simple and people do not resolve conflict in easy linear ways….

I love hearing ppl defend Clarke. Love all the different opinions of who is “more” at fault at each different stage of this messy journey lol or hearing why they blame THIS character or how they fully understand why THAT side-arc is meaningful to character development…. Etc etc.

Creating something that can foster discourse on deeper themes and emotions and HEARING those interpretations and opinions is infinitely better than any actual compliment to myself or my writing.

My favorite engagement every chapter are when people are doing deep-dives into why my characters probably did what they did…. What underlying feelings were probably happening and what they hope to see them do….

and honestly comments/feedback like that DOES shape and influence the story and writing bc it helps me get a feel for how certain things are being perceived by the general reader so if I need it to shift or if its being received in ways I did not want it to be… that’s the only way I know how to try and steer it back where I need it to go for later in the story….

I think there's something that needs to be said about encouraging readers to leave feedback.

For me it's not about "tell me my writing is amazing and stroke my ego"

It's more about "please engage with me so that I can experience your joy secondhand and foster a connection with you"

I understand that not everyone wants this in their reading experience, some people are shy and a million other reasons why maybe someone wouldn't want to engage and that's perfectly fine!

But what I'm trying to steer away from is being a passive content creator with passive consumers. What I want to steer toward is fostering a community that is essential to fandom. I want to see your reactions because it makes me feel like I'm a part of something.

On encouraging reblogs —

I understand that not everyone is comfortable reblogging, especially explicit content. This is ok!

But just consider that the only reason you were able to enjoy a fic or fanart is because someone else shared it, and by not sharing it yourself you are potentially robbing someone else of the opportunity to enjoy it as much as you did.

As OPs our reach only goes so far and this website relies on reblogs in order for anything to truly get seen by a wider audience.

So that's really it! That's why I encourage these two things at the end of every story I post. Not because I'm trying to be demanding and "make people feel bad" if they don't do it.

I know most other social media sites encourage mindless content consumption and that's just the way of the world nowadays, but I am from a time when community was at the heart of fandom and I just don't want to lose that.

[crimson-and-clover-1717]

Ed’s Initial Intentions regarding Stede

Thank you so much for your attention to the poll. The consensus is it’s complicated - and I sort of agree - although I’m swayed towards Fascination alone.

This is my interpretation…

Stede causes Ed to access hidden or denied parts of himself before they’ve even met. And it causes a change in Ed’s behaviour. Ed’s come across many rich or aristocratic folks to rob whom he would see killed without issue; but not someone who’s also a pirate, doing their own original thing, and who seems ambivalent towards Blackbeard’s existence. It’s dopamine to Ed’s novelty-starved brain. It’s not as if Ed carries out a usual raid on the Revenge intending to kill Stede, only to find himself unexpectedly charmed. Ed’s bewitched even before he meets Stede, which means Ed’s entire approach and thought-processes are altered.

Killing Stede and the crew isn’t necessarily off the table should the need arise, but I don’t think it’s actively on in any capacity. There’s no plan, and there’s no ‘uszh’ for once either. Because none of this is uszh. Ed’s engagement with the Revenge is not his normal MO. History’s most brilliant tactician is free-styling. Possibly free-falling.

At the end of 102, Izzy states, ‘Captain says follow that ship.’ And Fang answers ‘Oh really? Why?’ To which Izzy replies, ‘How should I know? The man’s half-insane.’ This conversation shows this isn’t usual strategy. Even Fang asks why - he thought they’d seen the last of those ‘fancyboys’. And Ivan’s sad he didn’t get the chance to murder them, which seems the usual way of things. Plus they’d already had the chance to take or plunder the ship when it ran aground, so this stalking manoeuvre is out of the ordinary. It feels like wasted time and energy.

By the start of episode three, Blackbeard’s ship is a few hundred yards out from the Revenge, and Izzy’s trying to manipulate Ed into usual strategy again by suggesting opening fire, or boarding and throwing the Revenge crew to the sharks. Instead, Ed wants to wait until they make landfall and invite them aboard his ship. Ed’s doing something very different again because he’s unwittingly engaging with an unfamiliar part of himself. And interestingly ‘Go suck eggs in Hell’ appears not to insult, but to somewhat seduce him further. Before meeting Stede, he’s already out of his depth emotionally, and acting out of character, literally.

Despite what Ed would do normally, I just cannot see him landing on the Revenge with the active intent of plundering the ship and / or killing Stede and the crew. His words and actions suggest he’s already through the looking-glass.

So, to The Plan. We have three interesting moments which lead up to its revelation: the clothes swap, ‘careful of your face’ and ‘show me the ways of an aristocrat’.

For me, the three strands, which have no previous connection (other than Ed and Stede playing together), come together in Ed’s mind somewhere between Ed leaving Stede on the lookout, and Ed speaking with Izzy below: a matter of seconds. It reminds me of Keyser Söze in The Usual Suspects, pulling together disparate ideas into a cohesive story spontaneously. It’s the mind of a quick-thinker. And it’s in-keeping with Ed’s ability of reacting in the moment to the moment when necessary.

I think Ed also feels forced to perform Blackbeard for Izzy because Izzy’s threatening to leave pushes on that white father-figure emotional bruise. At this stage, Ed doesn’t have enough emotional loyalty to Stede to not voice such a plan; whilst his identity is still too caught in Izzy’s web to let him go - ‘you’re needed here’. For me, the plan to kill Stede is brought about in the moment via an act of psychological coercive control.

But Ed’s also kicking the can down the road. It’s a sort of Faustian bargain. Why not promise Izzy both their souls if it means Ed and Stede can hang out a little longer? Yet on another level Ed’s possibly hoping the debt won’t be called in, such is the complexity of the push and pull here. He’s putting it on the tab, the never-never. He’ll out-manoeuvre it if he decides that’s what he wants. Of course there’s doublethink going on because Ed’s in the middle of an identity crisis.

Ed daren’t admit his real reason for wanting to stay on the Revenge. He can’t comprehend himself even how deep this goes. His look as he turns is one of exhaustion and confusion. Stede Bonnet has him rattled. What started as a trickle of unease and ennui before they’d even met is now a whirlpool of unidentifiable feelings around both Stede, and Ed’s own perception of self.

Ed’s free-falling in liminal space.

[justchillandshipit]

More thoughts:

I linked a post below that has me thinking about Tommy's actions & Eddie's place in the narrative. In retrospect, I 100% believe Tommy knows and understands that Eddie is likely going to be Buck's last. (as much as anybody can know this sort of thing.) I know Tim and Oliver said Eddie had nothing to do with the obstacles in Buck's relationship, but I think that was a partial truth on their part. Technically, Buck does spiral because of Abby and #stagefoureddiediaz has talked about the way Buck is still stuck on the hamster wheel. I think both of these things are part of the obstacles mentioned in one of Oliver's interviews. However, if you look only at those things, you overlook the Pink Eddie in the room. While I agree that Eddie didn't interfere or try to stop Buck & Tommy from being together, his friendship with Buck has remained a constant. (see the link at the very bottom for more about Eddie in the narrative.) If you check out Buddielifer's post, several good points demonstrate the breakup was about Eddie. I'll try to avoid repeating what was said there as I explain. My opinion does differ on a few small points, but I'll get to that later.

Ok. I'm going to talk about Tommy a little but stick with me. This is a Buddie post. I promise, and I do have a point. I do believe Buck was attracted to Tommy, not because he had some great destiny to be the love of Buck's life, but because he did a few really cool things while helping to save Bobby & Athena's lives. Plus, Tommy did it in the coolest way possible. Helicopter pilots are cool, or they would be if they weren't dating one-half of your favorite ship. lol. Before the kiss, Buck wasn't self-aware enough to fully engage with his sexuality, I suspect that he handled his attraction to Tommy the way he handled it with other men before we knew him as a firefighter.

As we saw in a flashback, when Buck met a man he felt attracted to, he processed those feelings by befriending him. It was the same with Tommy. That is why he was at the hangar that day. When he offered to buy Tommy a beer, I truly think Buck thought he was making a new friend. If you think about it, you can see this was a pattern for Buck. He did have a meltdown over Eddie when they first met (but with Eddie, bigger things were and are still in play) It doesn't change the fact that once Buck got past his initial jealousy or whatever that was, he threw himself all in with Eddie. It was part of his pattern and part of #stagefour's hamster wheel. (Endgame will have Buck get off the wheel and look around. The person standing there was never part of the wheel, but the person waiting for him to stop and get off of it.)

The situation with Tommy is probably closer to how Buck reacted to his friend who wanted Buck as a sperm donor. Buck actually followed that 'friend' to Peru. I have a post from a while back where I discuss Buck sending mixed signals. In his mind, he is making a friend, but he is also unconsciously flirting. Tommy was the first to push through and just kiss Buck. I don't think this was nefarious so much as an attempt to interpret the signals Buck was sending. (I'm sure many see Tommy as having bad intentions but stick with me. I'm trying to put him into the context where Tim claimed he wanted him to be seen. Tommy was supposed to be a mentor or a more experienced man helping Buck navigate this side of himself.) As a teacher, Tommy did help him navigate, but he also let Buck set the pace. Although never shown, we know Buck is a very sexual being, and the deleted scene with Tommy, Hen, and Karen confirmed that Tommy was just trying to keep up with him.

But I digress. Buck's intention to befriend Tommy ended the exact moment that Eddie showed up at the hangar with a huge smile on his face. Stoic Eddie who does not show his emotions was smiling hugely. Even though this is from Buck's perspective and he is an unreliable narrator, it is plausible to me that Eddie would be excited to go to a live fight in Vegas. Oliver and Tim have talked a lot over the past few weeks about how Buck spirals. When Eddie left with Tommy, Buck began to spiral in a way that we have never seen before or since. He was absolutely unhinged with jealousy. There is no way that Buck, who didn't even ask about Tommy's dating history until six months into the relationship, was that insane to get the attention of a man he has known for a few days or weeks. Now that we are pulling in new material from the current season, it isn't even remotely believable that Buck's reaction was about Tommy.

If Buck had experienced some sort of love-at-first-sight moment with Tommy, then he would have asked Tommy about his past at the beginning of the relationship. In fact, people entering into something serious generally ask about past partners in the first few weeks of getting to know each other or before sex. The fact that Buck didn't, is a change in pattern for him. Buck typically throws himself all in and then when things go wrong, he doesn't know how he got there. (Also part of the hamster wheel.) However, I attribute the difference this time to the fact that, subconsciously, Buck knows what he's feeling. He can use his body. (borderline sex addict). However, he can't bring himself to share with Tommy what he already shares with Eddie, but you know our unaware cowboy can't see it yet.

At the hangar, Tommy didn't have a feel for Buck yet. However, by the end of the Vegas trip, I think he had picked up a good idea from Eddie that there was something there. (not because Eddie has made some sort of confession, but because I'm confident that Eddie talked about Buck nonstop. I'm hoping that we get some sort of confirmation of this in the current season. I don't want it to be forgotten.) At any rate, whatever conclusions Tommy drew from his time in Vegas with Eddie and the time they spent hanging out afterward didn't bother him enough to refuse to date Buck. I do think Tommy was longing for the family and support he could see Buck has with the 118, but I don't think he was ever planning a wedding in his head. In fact, I know he wasn't. That's part of why he broke up with Buck.

Sidenote: (Thanks to StageFourEddieDiaz, for pointing out how Buck failed to understand the mission from Josh's speech because this is what caused Buck to shift from not letting Tommy get too close to asking Tommy to move in with him.) Until the conversation with Josh, Buck was actively shutting Tommy out of anything other than sex and possibly learning the ins and outs of the LGBTQ community.

Again, in the beginning, this didn't bother Tommy. He knew what Buck needed, and as he stated a few times during the sixth episode, Buck was hot and fun. If you need examples of Buck shutting Tommy out, I point you to anything that happened in the Halloween episode. I'm not saying Buck didn't care about Tommy at all, but he was holding back. The look on Buck's face as Josh asked about his feelings really said it all. I think this is probably why Josh was a little shy of the mark when giving his speech about comphet. Josh had to give a long list of, "Do you feel "this or that" for your boyfriend of six months," before he finally hit on something that Buck did feel. I don't want to get off topic or repeat too much from the linked post, I just wanted to illustrate that the jealousy from Buck's coming out episode was 100% for Eddie and that it was something that Tommy realized before entering the relationship.

I know there will be some disagreement here, but I also feel like Tommy's feelings for Buck actually were on the verge of changing, and he hadn't expected that. When they were standing at the grave, Buck gave his eulogy directed to Billy Boils. Tommy's face went through a series of changes. First, he seemed annoyed or concerned. I couldn't quite tell, but the more Buck talked, the more you could see of our Buck. The guy with a huge heart who can empathize with the skeletal remains of a criminal. I'll link the clip for you to judge. What Buck had to say to Billy was more open and revealed more about Buck's character than anything he had been saying to Tommy over the past six months. It was a small scene, but one that probably came back to Tommy when Buck suggested moving in together.

It was scenes like this one combined with Tommy's exclusion from group chat, etc., that probably helped to remind him that Buck's feelings six months ago were not about him and nothing had changed despite Buck's suggestion that he move in. Tommy's insecurities took over and reminded him what the inevitable end was going to be for them. He was the first not the last.

For the past six months, he's known that Eddie was between them, but you could see how comfortable he was with it. He didn't seem annoyed by Eddie's presence at all. I disagree with either Tim or Oliver when they try to play up that Tommy was Eddie's friend and this was natural. Eddie and Buck met Tommy at the same time, and Tommy was trying to shoot his shot by taking Eddie to Vegas. I don't know what was discussed between Eddie & Tommy during those few weeks where Buck was being left out, but it is clear that whatever conclusion he had drawn from the Vegas trip had been solidified by what happened on the basketball court, so much so that he wanted to apologize to Buck in person. We all know how that went, and I still think that was a good scene.

This brings me to the breakup scene itself. In the end, when Tommy talks about how he didn't see it coming. I don't think he was referring to the breakup. I think he was referring to the feelings he caught close to the end. He thought he would help Buck, provide a safe space for Buck to explore that he personally didn't have, and have some fun with a hot young thing, but he let it go too far. (His reasons are pretty much part of what Tim has said in interviews.) I don't think Tommy realized how much he had gotten caught up in the fantasy of Buck until Buck asked him to move in with him. I do think he's sincere when he says his heart would end up broken because, despite his feelings, he still understands there is something between Buck and Eddie even if they don't.

(One side note. I agree with Buck that first and last can be the same thing. I don't buy into the belief that you have to be with dozens of sexual partners, but I also don't think that would have been the case with Buck. He is a sexual character, and he's openly curious. I know people were mad about the interview where Oliver talked about letting Buck F#ck, but I think that would be in character for an upset Buck who was just dumped. It is less about his sexuality than it is about his abandonment issues and neglect trauma. That's my take anyway. We'll see what Tim does with it. I do think the part of Buck that craves monogamy already belongs to someone else, and the di was cast before Tommy came into his life, and we are back again to the hamster wheel.)

If you stuck with me this long, thank you. I know there are few, if any, fans of Tommy around here so I appreciate that you were willing to objectively view him the way Tim kept trying to present him. I'm tired and I'm pretty sure I rambled a couple of times, but I do understand Tommy is a problematic character. I consider that to be a writing issue that never got a satisfying resolution. I'm equally aware some people hate him simply because he was with Buck. I'm not doing a lot of judging these days because I already know how unreasonable I'm going to be over Eddie being with another man. After seven seasons of subtext, they are already in love. These other relationships are like cheating. lol I'm not so secretly hoping that if Eddie needed a "first" he got it when he was a teenager or when he was in Afghanistan.

I can tell I'm going to be bad because when I see posts about Eddie sleeping with a priest, I want to scream into a pillow and pretend that I'm flipping over furniture and tossing chairs across the room. I just can't be reasonable. I would never attack the actors or writers though. That's not me. My jealousy is on Buck's behalf, and my bad behavior remains entirely inside my head. I don't know what they'll do with Eddie, but they are going to need a chat group to make sure Eddie's boyfriends do not meet with Buck's subconscious mind.

Click here to see the meta on Eddie Haunting the Narrative from #buddielifers.

[keepmycandleburning]

IDK if this little section of the internet is just uncharacteristically hateful and negative and miserable lately or what. I've been lurking for like a year and posting since like 2 months ago, and it seems recent. I don't really feel like inserting myself into it anymore because it's not fun.

I loved HP as a kid probably like 9-12 y/o, at which time I picked up on something between Bellatrix & Voldemort due to the be quiet, Bella and the no higher pleasure lines. I reread the series for the first time as an adult in Oct-Nov 2023, and I was astonished at how much more I am able to pull from this text now. I came away with a much greater understanding of several things I'd missed as a kid. One of these is that it was very clear to me that Bellatrix & Voldemort were written to be at least sleeping together. VERY CLEAR. It was AFTER this point that I started being part of the fandom, and way after that I've seen people claiming their relationship ISN'T in the books. To me, this is really surprising, because when I've read the books as an adult, it's quite clear. Once I got into the fandom, I found that there are a huge number of people that agree with this interpretation of the text and find is equally obvious as I do.

However, despite the fact that I've seen a number of claims that they DON'T have any relationship in the books, I don't see people using text evidence to support this interpretation. In my personal opinion, this is probably because this is a very difficult argument to make based on the text. But if you think it can be done, instead of submitting negative anon messages without any text support, why don't you write a meta? If anyone would like to make a post going through all of the things people say are text evidence for Bellatrix/Voldemort and explaining why they're not the case, I would gladly read that out of genuine interest. Or, simply going through all the excerpts on their interpersonal relationship and explaining based on the text what sort of relationship you think they DO have.

I have seen countless people over the years analyze sections of text, lines between different characters, their attitudes toward each other, their various actions, and so on, and explain why this adds up to Bellatrix & Voldemort having some sort of relationship. I have NEVER yet seen someone who DOESN'T believe they had a relationship write a text analysis of their opinion. So I sincerely invite you to go through all the bits of text that Bellamort shippers say are canon evidence and explain why they're not—in individual instances and in total. Explain why = not just 'this is my alternative interpretation without text analysis' but *how you justify this being the case based on the text*. How do you justify ignoring how countless bits of the text can be interpreted all in this one way (Bellamort) and instead interpreting them all different ways? How do you explain what JKR was intending to say about Bellatrix & Voldemort's interpersonal relationship considering all their interactions both on- & off-page? WHY are they written the way they are if they don't have an intimate relationship? Or if you believe they're not written that way, again how can you justify this based on the text? If you need a list of text moments and existing 'Bellamort is canon' metas I can compile one.

I'm curious to see what you come up with, because I've never once seen this done—and because, as I've said, it's not an opinion that I personally believe to be supported by the text. If you can explain why it is supported by the text please do that and I'll consume it in good faith.

[adamnablelittledevil]

on the subject of vampire polyamory specifically in relation to Lestat, Armand, and Louis, I think people are forgetting that there's a difference between an open relationship and a throuple. All 3 of those vampires are pretty poorly equipped to handle an open relationship with Lestat "I don't like sharing" de Lioncourt probably being the worst equipped, however I do think that the three of them could probably manage with a poly relationship where all members of the relationship are dating all other members of the relationship and the relationship is closed.

Thank you! Speaking of relationship configurations as a whole, this is so true. Polyamorous and open relationships are not necessarily the same and people tend to generalize them so much. It's the same with pan and bisexual people, it's not because you're into every gender that you're into every single person. I'm personally all for freer relationships (polyamorous, open, non-exclusive, any and all of them), I keep the door open and yet never used it because there was never a need for it, but it's still open if that changes one day. It's just about not being controlling for me. I feel really weird about trying to police each other's actions, bodies and feelings. So, I'm like, as long as there is love and respect, we're free to follow our heart wherever it takes us. I don't see having more than one parent, kid or friend as a problem, so I don't know why romantic love would be any different. For me, the problem is that it is hard to fall in love, be lucky enough to be reciprocated and accommodate a romance with all the other aspects of your life in the little time humans have with one person, let alone two or more individuals. Also, the risk of pregnancy, diseases etc. Now, vampires that live forever, can't get sick or pregnant? It makes perfect sense.

About Loumandstat, I can definitely see what you're saying. Specially for what I've read on the books so far. I don't know in depth how the chronicles will end, what Rolin will choose to do and if that's logistically possible on a show with only 7-8 episodes per season (I do believe they work miracles with the little time they have, but it's still not the same as having 13 books), but I think there's enough argument to support giving it a try or at least leaving it open to interpretation if they want, even if they don't do it with the main three (or four) characters.

Not to mention they're vampires and I find the idea of living forever with only person and love narrow-minded, limiting and unrealistic (same goes to gender, sexuality and norms in general). It's way more convincing to me that feelings would evolve and relationships would expand over time. I also believe many of their problems come from having just one person to be the lover, friend, therapist, parent and mentor all at the same time.

Ans you can't have one individual playing all the roles in your life... This usually makes things implode and they end up going from one person to nobody and complete loneliness. It just never work, no matter how compatible they are. You need multiple people to spend eternity with and all the love you can find: platonic, familial and, yes, maybe even romantic.

[wings-of-ink]

Hi Lunan, I was wondering about the player stats if you have time. I keep getting reckless as a go to response for things despite trying to play a more shy and timid MC and it made me curious. How do you determine what choices actions constitute which stat? I understand that the game is still in development and it may not be set in stone or other aspects of the game might be more of a priority, but I was mostly interested in picking your brain, in a general sense, if that's OK. I'm sure you're very busy so there's no rush to answer this ask, or answer it at all.

Hello, Anon!

Let's see, player stats are definitely something that will get fine-tuned as we go. And, funny that you ask, I have literally been dwelling specifically on the reckless stat this weekend.

I'll just explain how I have worked this out below. I apologize that I went a little long...I genuinely enjoy chatting about this stuff, and I gotta bit...lost in the sauce here, lol. ^_^

For the MC's personality and actions/reactions and some of their speech patterns, I have 4 main stats. These are on a scale with their opposing characteristics, so 8 total. There's a 5th stat that tracks how your MC flirts.

Reserved vs Outgoing

Gentle vs Assertive

Serious vs Playful

Reckless vs Cautious

Bold Flirting vs Shy Flirting

The MC starts with scores directly in the middle for all of these (50 on a scale of 100); however, I decided not to code for much in the way of "middle ground" behavior. This saves me tons of coding and tons of agonizing about what a middle-of-the-road response would be. So, if your MC's score is above "49" they default to the characteristic listed first, but lower than that, they default to the one listed second.

The only score that is treated differently is the one for flirting. To default to bold, the score needs to be below 40, so the character must show a fairly direct preference for boldness in this area. I did this since shyness is a fairly "safe" bet for this type of characteristic.

Number 4 does not come into play very often - yet. As things heat up, some actions that the player does not get to choose will be determined by their score in this stat. Currently, there are only a few options to choose what influences this score. It is possible to barely have any score for this stat one way or another. I'm going to be increasing the influence of this and probably adding some new ways to get points for this as I do some editing.

As for how I determine if something raises or lowers a stat in general, I try to use my best judgment to determine motivation when I design the choices that influence stats. To me, being reckless or cautious could be either intentional or not. I think the first time this stat comes into play is in Chapter 1 when MC decides if they are going to try to steal the honeycakes at the beginning. Trying to snatch one gives an increase to recklessness since it could be a naughty or impulsive decision.

I also wanted 1, 4, and 5 to be independent of one another since someone could be more outgoing but very timid when they flirt and cautious when they act. Outgoing/Reserved is another that needs some adjusting as well and will be tweaked in the future.

The others are more straightforward. If an action or speech choice is more kind/soft/mild/considerate, I label it "gentle." If it is more direct or even a bit aggressive, I label it "assertive." I kinda just have to use my own interpretation as best I can, and I know that to other people some of my options will feel flipped (occupational hazard, lol).

I have liked this system for the most part. It took a lot of working out when I got started. I was just learning so it was easily a solid week of me just hammering out what I understood and what worked. I have learned so much since then. I knew I wanted to keep things paired down to ease my own burden. Lots of stats can be so much fun in a game, but I just do not want to get too lost in it, so I keep my focus narrow.

Hope that helps, Nony! If you have follow-up questions, please feel free to let me know! ^_^

A side note, while we are on the subject...

For my next IF, I may play with a different way to set the MC personality. I may just have players pick at the beginning from either specific stats or like 4 or 5 MC archetypes. The wheels are still turning on this though, nothing is set!

[tisajest]

You are newly orphaned and given to the nearest Wise Old Man to raise. He will be your guardian til adulthood and may or may not come to care for you, who would you rather that man be?

[lisbonsteresa]

knees weak, arms are heavy

[proudfreakmetarusonikku]

Anyway, while people are discoursing about men and not sharing Shubble points, here’s the actual advice I got from watching the stream bc I think that probably needs to be spread more. Shubble elaborates it much better but if you can’t watch it’s better than nothing.

Physical abuse is not just hitting or kicking, anyone causing physical pain intentionally to you without consent is physically abusive, regardless of how that manifests or if it seems silly.

Pressuring someone into using a safeword on something that’s not, like, a mutually agreed thing and is just something one partner wants is controlling and creepy.

Partners who push at the edge of your boundaries and avoid safewords are abusive.

A partner insisting you’re remembering things wrong and making you seem crazy is abusive (specifically, it’s gaslighting)

Grand romantic gestures from the beginning can very easily be a sign of abuse, as abusers use it to endear themselves to their victims.

Controlling behaviour and refusing to break up while also refusing to make changes is possessive and unhealthy at best.

Abusers will manipulate things to make it seem normal to those outside of their victims- by being kind and helpful even as they neglect their victim, by pressuring their victim to treat their abusive behaviour as a joke, ect. It’s often very hard for an outside observer to know if something is abusive, and making assumptions off of what you know in front of closed doors isn’t helpful.

It’s very hard to tell that you’re being abused, and you'll often still retain affection for your abuser for a long time- this is normal, and this isn’t your fault if you wanted to stay friends.

Even if an abuser is struggling with their own problems, taking it out on you is not acceptable. People can be bottling up their emotions and struggle with depression and past trauma and that gives them no excuse to hurt you.

If your partner relies entirely on you to take care of them, and support them financially, that’s financial abuse one way or another.

Abusers tend to hurt more than one person, and their actions escalate without outside influence (be it intervention if possible or something that keeps them away from victims if not.)

Listen to your gut, if you think a relationship is bad. Even if you’ve been through this before, sometimes you can’t realise in it, but you’ll feel it subconciously.

Also, Shubble is being supported by friends who helped her cope and went through different but similar things. She's specifically mentioned right now keeping the stories anonymised, but she might change her mind, if I interpreted the last bit correctly. She's doing alright, she's healing, and it sounds like she's being believed by her friends, at least most of them. I wish nothing but growth and healing for them, and wish them the best moving forward.

[goldfades]

NOT SCARED──RAFE CAMERON

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for this request

─ summary | during an argument, you accidentally flinch.

─ pairing | rafe cameron x fem!reader

─ warnings | kinda angsty, but it softens into something fluffy and sweet. could be interpreted as ptsd?, rafe being angry, nothing else really!

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The room feels smaller than usual. The air, heavy with tension, presses in from all sides, thick and humid, like the heat outside the windows you forgot to crack open.

Rafe stands across from you, his face flushed—partly from the Carolina sun, partly from the argument that spiraled faster than either of you meant for it to. His eyes, usually such a cool shade of blue, burn as they lock onto yours. He was complaining about something Sarah had said offhandedly, and you couldn't bring yourself to answer. You weren't even sure what he was saying anymore. Something about how she was an ungrateful little brat?

“Are you even listening to me?” His voice cuts through the stillness, sharp and rough.

Your chest tightens, the weight of it pressing harder with each word. You stand there, rooted in place, trying to keep your composure. You want to yell back—God, you want to—but your words are caught somewhere deep in your throat, tangled in the knot of emotions you’ve been trying to hold back for what feels like hours.

And then it happens.

Rafe’s hand jerks up, a frustrated gesture, fingers raking through his hair. But you don’t see it as that—not right away. The movement is quick, too quick, and instinct takes over before you can think. Your body reacts.

You flinch.

It’s small, a barely-there movement, but in that moment, it feels seismic. Time freezes. You see the flicker of confusion cross his face, the instant shift from anger to something else—something unreadable, something that twists your stomach in knots.

The silence that follows is deafening.

The air between you both seems to collapse in on itself, heavy and suffocating, as if the room is holding its breath, waiting for what comes next. Rafe’s eyes, sharp and cutting just seconds ago, soften in a way that makes your heart stutter. You see it—the realization. The moment it hits him.

His arm lowers slowly, his fingers uncurling from where they had been tangled in his hair. There’s a flicker of guilt, maybe even hurt, in his gaze now, but he doesn’t move toward you. Not yet. He stands frozen in place, as if he’s afraid to take another step, afraid that the space between you will shatter entirely if he does.

“What the hell was that?” His voice is softer now, but there’s something raw underneath it, something that makes your chest tighten even more.

You bite down on your lip, trying to will the tremble in your hands to stop. You don’t answer right away because, honestly, you’re not sure what to say. You didn’t mean to flinch. You know Rafe would never hurt you, not like that. But it happened, and now the weight of it hangs in the air like a storm cloud ready to burst.

"I—" Your voice cracks, barely a whisper. You want to explain it away, brush it off like it’s nothing, but the words feel too fragile to stand on.

Rafe shifts his weight, his eyes flicking to the floor before they settle back on you. The tension in his shoulders hasn’t quite eased, but there’s something else there now. Vulnerability, maybe. Uncertainty.

“I wasn’t gonna—” he stops, as if the words are too heavy to finish. “You know that, right?��

You nod quickly, too quickly, because you do know. But it doesn’t change what just happened. It doesn’t erase the way your body betrayed you, reacting out of fear instead of logic, making this moment real in a way that feels unbearable.

“I didn’t mean to...” you manage, your voice small, cracking under the weight of the silence.

Your words feel hollow, barely filling the thick air between you. Rafe’s gaze lingers on you, searching for something—reassurance, maybe? Forgiveness? You’re not sure. But there’s a look in his eyes that you don’t quite recognize. Vulnerability has never been his strong suit, and seeing it now, raw and exposed, makes your stomach churn.

The seconds stretch out painfully long, the silence between you both growing louder, pressing in like a suffocating blanket. Every breath feels labored, as though the very walls of the room are closing in, shrinking with the weight of what just happened. You can hear your heartbeat in your ears, fast and uneven, like it’s trying to outrun the awkwardness that’s settled between you.

“I wasn’t… I didn’t mean to scare you,” Rafe says, his voice soft but frayed at the edges. It’s like he’s unraveling right in front of you, piece by piece, and all you can do is stand there, clutching onto whatever is left of your composure.

You know he means it. You know. He would never intentionally hurt you, not physically, not in that way. But the tension from the argument, the way his hand moved so quickly, too quickly—it just triggered something deep inside you, something instinctual and uncontrollable. And now, that flinch, that split-second of fear, hangs between you like a permanent scar neither of you know how to heal.

“I didn’t mean it,” you repeat, almost like a mantra, willing the words to erase the moment. But even as you say it, your hands are still trembling, and your heart hasn’t quite settled in your chest. You feel the need to explain, to fix the mess that’s rapidly spiraling out of control. “It wasn’t you, Rafe. It’s just—”

You stop, your throat tightening as you struggle to find the right words. How do you explain something like that? How do you tell him that sometimes your body reacts before your mind can catch up, that sometimes fear sneaks in where it doesn’t belong, uninvited and unrelenting?

Rafe’s brow furrows, and he takes a small, cautious step toward you, as if testing the waters. His movements are slow, deliberate, like he’s afraid of making it worse, of pushing you further away.

“Hey…” he starts, voice softer now, almost tentative. His eyes, still locked on yours, carry a weight that makes your chest tighten. He takes another step, closer this time, closing some of the distance, but there’s still a carefulness to him, like he’s afraid to breach the invisible barrier that’s suddenly formed between you. “It’s okay. You don’t have to explain.”

But you want to. You need to. You need him to understand that it wasn’t his fault, that it was just the heat of the moment, the adrenaline from the argument twisting your reactions into something they weren’t supposed to be. You shake your head, trying to string together something coherent, something that will ease the hurt that’s settled in his eyes.

“I didn’t mean to flinch,” you whisper, voice cracking under the strain of your emotions. “I just… it was reflex, okay? It wasn’t you. You didn’t do anything.”

Rafe stops just a foot away from you now, close enough that you can feel the warmth radiating from him but not close enough to touch. His hand twitches at his side, like he’s debating whether or not to reach for you. His jaw is clenched, his lips pressed into a tight line, and for a moment, he just stands there, studying you, his blue eyes clouded with a mixture of confusion, guilt, and something you can’t quite place.

“You sure about that?” His voice is barely above a whisper now, rough and strained, as if he’s holding himself together by a thread. “Because it didn’t look like nothing.”

The hurt in his tone makes your heart ache. You want to reach out, to touch him, to tell him that it really is nothing, that you’re fine, that he’s fine. But there’s a knot in your chest that refuses to loosen, tightening with every passing second.

“I’m sure,” you say, and though you try to make your voice sound steady, it wavers, betraying you. “Rafe, I know you. I know you’d never—”

“I wouldn’t,” he interrupts, his voice thick with emotion. He finally reaches out, his hand hovering in the air for a moment before it finds your arm, gently, so gently, as if he’s afraid you’ll break under his touch. His fingers wrap around your wrist, warm and steady, grounding you in the moment. “I’d never… you know that, right?”

The softness in his touch contrasts so sharply with the tension from earlier that it nearly breaks you. His thumb rubs slow, gentle circles against your skin, and for a moment, you allow yourself to close your eyes and breathe, just breathe, focusing on the steady rhythm of his hand, the warmth seeping into you.

“I know,” you whisper, opening your eyes to meet his. “I know, Rafe. It was just—”

“Instinct?” he finishes for you, his voice quiet but understanding, like he’s trying to piece together the puzzle himself. He lets out a small, shaky breath, and you can see the frustration simmering beneath the surface, not at you, but at himself. “I just hate that I made you feel like that. I hate that you even thought for a second…” He trails off, jaw tightening again, as if the words themselves are too painful to finish.

You can feel the weight of his guilt, the way it clings to him like a shadow, and you hate it. You hate that this argument—something so stupid and trivial—escalated into something that neither of you meant for it to. You hate that your body betrayed you like that, that it made Rafe question himself, question the way he loves you, the way he would never hurt you.

“I’m not scared of you,” you say, firmer this time, willing him to believe you, to really believe you. “I’m not.”

Rafe swallows hard, his hand still wrapped around your wrist, but his grip is loose, hesitant, like he’s waiting for you to pull away. But you don’t. You step closer instead, closing the last bit of distance between you, your free hand reaching up to cup the side of his face.

His skin is warm under your touch, and you can feel the tension in his jaw, the way his muscles are still tight with emotion. His eyes flutter shut for a moment, like he’s savoring the comfort, the reassurance, but when he opens them again, there’s something deeper there—something that makes your breath catch.

“I don’t want to fight anymore,” you whisper, your thumb brushing lightly across his cheek. The weight of the argument, of everything unsaid between you, feels so heavy now, and all you want is to push past it, to move forward, to fix the crack that’s formed in the foundation of what you have with him. “I’m sorry for—”

“You don’t have to apologize,” Rafe cuts in gently, his voice barely above a murmur. He leans into your touch, his hand tightening ever so slightly around your wrist. “I shouldn’t have let it get this far. I’m the one who’s sorry.”

For a moment, neither of you speak. The storm of emotions between you slowly starts to settle, replaced by a tentative calm. The argument still lingers in the air, but it feels distant now, like something neither of you want to revisit. You can still feel the weight of what just happened, but standing here with him, close enough to feel the steady rhythm of his heartbeat, you know you’ll both be okay.

You always are.

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[cntloup]

a relationship with simon would be mellow and quiet.

of course it would have its own turbulences, but for the most part it's silent.

there are no big gestures or loud words, but soft murmurs and tender touches.

he's always got a protective hand on you when you're out and about, not out of toxic jealousy or anything like that. he's too mature for that. he's confident and he trusts you.

he does it to keep you safe, so no creep would even dare throw a wrong glance at you, let alone get too close or touchy and make you uncomfortable.

it also comes from the need to feel you at all times. he needs to make sure you’re still there and you haven't vanished from his life, turned to dust like all the good things have in his life.

he always keeps an eye on you especially outside when you're going about your business, perusing around different shops at the mall.

it comes from his protectiveness, also from his flaming love for you that engulfs his heart. he simply can't take his eyes off you, his gaze softened and adoring as he looks at you being happy and giggly when you find something that you like.

he always keeps you safe in a quiet way, but you feel it. you always feel safe in his presence.

all his love and devotion seep through his actions, even the littlest ones.

he makes sure you’re always stocked up on all your favorite food, beauty products etc. and always is there to keep you from hurting yourself clumsily. all in all, he always tries his best to make your life easier.

he quietly shuffles under the blanket when he returns late at night and whispers 'i love you' before kissing the crown of your head and pulling your body closer to his, fully flushed against him. and he sighs in relief, he's home.

now don't get me wrong when i say mellow and quiet. it can still be intense at times.

especially the ugly parts that you both try to avoid, but can't help as it seeps through the corners of your relationship anyway.

he needs his space when he returns home from a deployment. and you've learned that the hard way.

he's lashed out at you from time to time. even though he had fought hard with himself to keep that side away from you.

and a heavy silence settles in the room after the shouting and occasionally throwing stuff have taken place.

not the comfortable silence you're used to when you're together, but a thick, suffocating atmosphere.

he starts cursing and grappling with himself after slamming the door to his office shut.

and you curl into yourself on the couch while uncontrollable sobs escape you and you feel paralyzed by his venom.

that's exactly what he was trying to avoid all along, all throughout your relationship. he tried so hard to keep that part of himself away from you, from poisoning you as he interprets in his mind, but to no avail. the demons won. and he can never forgive himself for letting them.

but that's where he was wrong. you tried to convince him that he doesn't need to hide any part of him from you. you love him and you love him entirely, all of him.

even though he still needs his alone time as everyone does, he tries to open up more and talk to you about what haunts him instead of bottling it up to the point of explosion and taking it out on you.

and you've encouraged him to attend therapy again and promised him that you will be there every step of the way with absolutely anything he needs. and of course he accepts. for you and himself. for his family.

[andhumanslovedstories]

I've been running this writing experiment lately to cut out phrases like "I felt" in my fiction writing. Like I was looking at a sentence in a draft that said, "he felt as if character's eyes were pinning him in place." And then I was like, "well, does he think that or is it true? As a result of this person watching him, he's froze. It's not like a thing, it is that thing."

Oh and "almost"! I'm always going, "He felt almost relieved that it hadn't happened." Well, did he feel better that it didn't happen or didn't he? Or "somewhat", I'm always going, "she felt somewhat perturbed."

And like none of that is wrong, to be clear. I don't know if it'd improve your writing, I don't even know if it'll improve my writing, but I use this sentence structure all the time so every viewpoint is from a voice that thinks about what it thinks, hedges its statements, and offers the same ability for wry little jokes formatted in the exact same way. And I have a lot of writing like that and I think (!) that they're good, but read as a whole, I'm like, "god, they all sound the same." Like there's one melody that I write songs to, so even with different lyrics, it's almost (!) the same song. Something I've been struggling with in regards to my writing and why I've felt so blocked is how boring I found writing my usual way. I'd read something and enjoy the individual parts of it, but then I'd step back and I didn't like the whole. And I got good at this enough at seeing that I didn't like it to do it in real time as I was writing, which as you can imagine didn't improve the process of writing because now I was bored AND dejected about being bored.

There's this sentence-level structure fact that I use unconsciously. A pattern I find easy is short sentence, short sentence, short sentence, long sentence. So I write that. "He [verbed]. He [verbed]. Then he [verbed]. As he [verbed] to his [consequence], he [verbed] that [noun] was [statement of condition]." Which could work, it often does make for a nice rhythm, but it's something I reach for often because it's easier for me.

Just last sentence, I originally typed, "I find it easier for me." But if what I mean is "using this pattern is less effort than another pattern," then it's easier for me. One voice is hedging its bets and the other asserting. Either is fine! But they're different! And, again, GOD you would not believe how many words I've cut out of this paragraph as I write it. I'm so chatty. I love using twelve words when six will do. And that gives my writing a specific tone to my ear.

So if I am bored of that tone, why not try using just the six words? Why be understated? Why be afraid of stronger opinions? So right now with my fiction, I'm experimenting with cutting out as many self-reflective words as I can. Sometime you do need to draw attention to the face that this is the character's interpretation, but like you definitely don't need to do it as much as I naturally want to do it. You don't need to always go out of your way to allow the possibility that the narrative voice is wrong. During editing, I trim the weaker ones (I originally typed, "what I consider the weaker ones" Is that more accurate?). But I think them being there in the first place shifts my language which shifts my character's which shifts my plot. It's sentence structure all the way down!!

(this barely applies to my writing on here, btw. i try to do good but yknow this is a tumblr blog. i'm not trying to get a lit mag to accept it.)

Anyway blah blah (chatty!) the point is I've been trying to write in a way opposite of my interests. Something that doesn't take itself too seriously, that emphasizes EMOTION and ACTION instead of minimizing it, and that clips through scenes at a good pace. Doing this been amazingly fun. I've been having such a good time doing it. I am writing so much because I really enjoy doing it. The process of writing is so fun again.

This post is about two things. One is my new mood stabilizer and therapy day camp. The other is about the benefit of pretending to be MXTX.

[carouselunique]

Here you go!

Bonus Explanations for the Elements:

I treat the Elements as the values being the same throughout it's just how the bearers choose to interpret those values is how they end up being defined. In a sense the original Mane Six and the Swap Six all have similar values but express them somewhat differently.

Roseluck: Element of Inspiration - Rose inspires others to be their best selves, she is inspired to strive toward her dreams through her friendships and wants to pay that forward.

(Element of Generosity - Rarity focuses on what she can give to others while Rose focuses on bringing out what one already has.)

Ditzy Doo: Element of Cheer - Ditzy always delivers a smile, a cheesy mail joke, a wing to lean on, a feathery shoulder to cry on so you can feel better, someone to remember you and make you feel seen etc. She makes others feel lighter and cheerier and that cheer spreads to others in a domino effect!

(Element of Laughter - Ditzy doesn't mainly focus on laughter the way Pinkie does because she believes not everyone needs a laugh to feel cheer. Pinkie is more of a clown type while Ditzy is, well, more of a motherly type)

Sea Swirl: Element of Trust - If you put your trust into Sea, she won't let you down. She is honest sort, even if you sometimes have to take a leap of faith that you aren't sure about at first. Sea will uphold your belief in her with a trustworthiness that makes you want to be someone that others trust as well.

(Element of Honesty - AJ treats her Element as a very literal value while Sea doesn't feel the need to say every true thing outloud, more that you know that she is someone who's words and actions you can inherently trust even if she isn't always literally honest.)

Ginger Gold: Element of Integrity - No matter what ambitions Ginger has, she will always have the integrity to stick by her friends and family and do the right thing. Her integrity and willingness to do what's right by those she cares for no matter what even at the cost of her own goals makes everyone around her a little more honorable in turn.

(Element of Loyalty - It's nearly the same here more just that in my head, Rainbow will be loyal to her friends because they're her friends while Ginger Gold will have integrity because it is something she believes one should just always have and by having that she can be loyal to her friends - not to say one is more noble than the other, that is just how they see it if they're asked to really define it.)

Sunny Rays: Element of Empathy - Sunny is, as her name suggests, as warm as the sun. She is soft and understanding and empathetic and seeing everyone as being worth a chance at being seen and their issues felt allows everyone a kinder view of situations.

(Element of Kindness - Sunny Rays sees empathy as different than kindness, especially as she develops. She can have empathy and not always be kind as someone might see it and someone can be kind but not understand the point of view through an empathetic lens and therefore be kind but not empathetic. Of course it's a struggle to balance how to be kind and empathetic or when kindness has to stop because you know it is hindering your understanding of a situation, etc.)

Minuette: Element of Friendship - Her friendship brought the group together and allowed them to share their best values with each other and her realization that you should make time not just for academic exploration and what we can discover but for the cultivation of emotional and social development and that we need our connections with others to be truly happy helps other realize what truly counts.

(Element of Magic - In my head, Twilight calls it Magic because she believes that Friendship is a form of Magic a flaw that shows up in the later seasons where friendship is treated as something inherent and almost religious in a sense? At least to me? While Minuette believes that the Magic comes second to the Friendship and can only occur if one works on Friendship and treats the Magic of Friendship as something you work at and feel more than it is literal magic.)

[sayuri-of-the-valley]

On how Crowley and Aziraphale felt during the kiss (but mainly Crowley here):

Ok so first, the main idea for this huge meta is that a LOT of us noticed how the music from the kiss scene is similar to the nebula one, right?

Second, a lot of us also correctly noticed the parallels between the kiss and how it was to taste food for the first time for Aziraphale: bc of his reactions, the hand on lips, the similar way MS acted both scenes, the little inhale etc. So how was it for Crowley?

Aziraphale's reaction to the kiss is practically a puzzle to solve on its own, so it's fun to analyse it, but basically, in a few words, Aziraphale kissed Crowley and he discovered he was physically starving for him, longing for him, yearning for him, for his kiss, and he had no idea. Just like with the ox. And now he needs to gorge himself in him but he can't. Great amazing heartbreaking chef's kiss someone give MS an Emmy.

But there's already so much amazing meta out there about Aziraphale x Ox ribs x The Kiss that I want to focus on Crowley here, and on the music.

So back to the music. The song in "Before the Beginning" and the song that plays during The Kiss (I Forgive You + Don't Bother) are so similar. They're not *exactly* the same, but they're totally reminiscent of each other. The viewer is immediately reminded of those chords that played in the opening scene. It's no coincidence that the fandom was talking about this fact only minutes after first watching those final fifteen minutes. This is an obvious intentional choice for storytelling reasons (David Arnold is a genius).

I have no expertise whatsoever when it comes to music, so I asked our friend @otsanda to see if that made sense and not only it does and she explained it, but she also uncovered so much more hidden meaning in all of it (musicians are amazing), so check out her meta about the music that not only serves as evidence to what I'm proposing here but it also has so much more juicy information in it 💖.

Back to the point: WHY thought? Why choose a similar song? Why intentionally COMPOSE a similar song for that moment?

Hear me out. WHAT IF, by reminding the audience of the creation of the nebula, they meant to convey to us that, for Crowley, kissing Aziraphale gave him the same feeling that creating his stars did?

THAT'S what the music is telling us. THAT'S why it makes us remember "Before the Beginning". It may sound cheesy, but Crowley may have literally seen stars when he kissed Aziraphale. He couldn't react accordingly (just like Aziraphale couldn't), bc it was an overwhelming and extremely sad moment (the music is also telling us that) for both of them. They knew it was ending . They were both having a moment of huge revelation that was fated to not come to completion. Crowley was right, it was too late.

It makes sense to show Crowley's feelings through the music, bc he was the one who started the kiss, and also he was wearing sunglasses in that scene, it's different from a character like Aziraphale that has all his million expressions for everyone to see at all times. And they've been doing this ever since s1 with the Queen songs that play in his car or in the background.

So my point is: the same song being used there makes me wonder if kissing Aziraphale finally gave him what he lost. His purpose. What Aziraphale was trying to give back to him by taking him back to heaven. There's no need for Heaven. Just kiss him, Aziraphale, and there he'll find the stars you want to give back to him. There you will one day see that smile on his face you saw Before The Beginning. Neil Gaiman and David Arnold I am in your walls 😭

This is what may lead us to see this happiness in Crowley again (not the action of kissing itself, of course, but what it represents to their relationship, them being together, them being an Us).

As @otsanda said: from the music we can interpret that that moment was a Revelation for them. Almost a religious experience. Crowley found his purpose again. What he'd been missing the whole season (or even his whole life since the Fall, but we've seen him especially depressed this season).

I'm not even getting into the poetry of how one can interpret the parallel to the angel's reaction to the kiss as carnal, and the demon's as religious; that would be another whole essay but let's just agree that it's incredibly beautiful. (Let me be clear that I mean here Aziraphale's reaction is carnal specifically for Crowley, and Crowley's is religious specifically for Aziraphale, not religious as in "worshipping god")

"Do you ever wonder what's the point?" Crowley asked in s2e1. The point, for him, is Aziraphale (if you've seen The Good Place you know what I mean). I hope he figured this out with that kiss, even as heartbreaking as it was. Even if it was a (temporary) separation kiss. (I hope Aziraphale figures this out with time too, that he's more than enough to make Crowley happy, that Crowley doesn't need Heaven, or stars, that Crowley needs him.)

Maybe that's why Crowley didn't leave and kept waiting outside until the very last moment.

Aziraphale and Crowley both bit the apple at the end of s2. There's no turning back from that Knowledge now.

Edit: I just have to add here this brilliant colour analysis of the nebula scene by @halemerry. And it's pointed out that during the nebula formation there's a moment when it looks like two people embracing. And the fact that a similar song is used in the actual Kiss scene I just... I have no words

[erosiism]

GENSHIN MEN AND…

prompt: HOW THEY WOULD REACT IF YOU SACRIFICED YOUR LIFE FOR THEM

character(s): diluc, zhongli [part one] childe, ayato [part two, out]

warnings(s): angst ofc—mention of blood, my first post on tumblr so my writing style may be a little icky, inaccuracies since I haven’t looked up genshin lore for a hot minute 

note(s): male reader, second person, present tense, not beta read

DILUC

There’s a lot of things you haven’t told him yet. Things you wished you had told him—but everything’s fine, because in this single action you are willing to do for him—your feelings will come inevitably with it and it’s a torrent of emotions that you’re about to burden him with.

He’s been your childhood friend for seventeen years now. All those times you have seen him, smiling, his merry laughter carrying over the breeze, his lips purple from sampling grapes, to the time where that very laughter and smiles disappear to smoothen into a stone face. After the death of his father, Diluc has become reserved, cold, and rather distant. Bitter.

You two were close, once.

You two had a bond that many could not quite interpret— it was as clear as day that you both trusted each other fully, but each always had secrets to hide. Some say proximity is the reason why both of you got close — your manors were near to each other, but truthfully, it was as simple as it was: you two had the same social standing. Both you and Diluc were, for each of their families, supposed to be close for the sake of future alliances and unions, but the friendship soon turned genuine, only for it to crumble under the weight of guilt and grief.

Only for it to crumble on the day Crepus died.

You still remember it vividly; in all its sickening, gruesome, heart wrenching detail. You were fortunate enough not to witness it, but etched in your memory, all you can think of is Diluc’s ravaged expression when he trembled before his father’s corpse.

You were helpless then. You could have extended an arm, you could have done something.

You didn’t.

But now would be different. You know the archons have it in for him when the incident happens the same way it happened with his father: via a carriage incident. 

You laugh then at its bitter irony.

Bandits come, a whole load of them, and this time Diluc fights while you are there helpless once again, trembling when you hear the clash of swords and arrows. When you hear his claymore smash against flesh. You don’t have a vision. Diluc has. You don’t have any particular skill in handling a sword; Jean has tried to teach you once, but it has failed. Your brain may be quick and witty, but your steps aren’t. 

The bandits have delusions. The archons really are cruel.

You see it before he does. There’s a burst of electric power that he's battling, the elementals clashing with each other—you’re still lagging behind, barely missing the whizzing arrows that skim your flesh, your heart wrenching as you see Diluc’s pained expression. You know what he’s thinking of, and it isn’t you. His memories are reverting back to his father’s death. His birthday. And perhaps that’s why his usual sharpness is wearied down.

You see the sword about to plunge his back before he does.

You scream to tell him.

Your body moves before anything.

Your fingers fumble to clasp the fabric of your clothes, before you tug him out of the way. You feel the weight of a sword against your back; you feel the way it slices through your skin before it presses against your flesh. You taste blood on your tongue, before a myriad of colors burst out; crimson, carmine. All the shades of red. You wobble then, choking out blood, before you stumble. You hear a few slices; razor, swift sharp ones. Then the last of the assailants falls down, and you are made aware that your decision has been the right one.

Diluc has survived. 

You stumble. You feel your body hit the ground. Murkiness runs your vision.

“[Name],” you hear a soft, whispering voice carry to your ears. You try your best to cling onto the words. But pain is burning within you—it’s ironic, how they feel more scorching than Diluc’s flames have ever felt. You try your best to swallow down your pants and your pained noises, but it ends up slipping from your mouth in broken, mottled syllables.

Your blurry vision makes out a face.

He cannot be Diluc. He’s crying. And the last time you have seen Duluc cry is when—

Oh.

“Don’t cry,” you say weakly. “Don’t cry, Diluc. I’m sorry I wasn’t of much help.” You try to reach out to his cheek. You regret it a split second afterwards because blood stains his cheeks wet from tears. You end up smearing red all over his face.

“Why?” Diluc says, and it sounds guttural, like the words have been punched out from him. “Why, [Name]?” You hear a flurry of footsteps behind. You assume it’s some surviving witness who has gone to call for backup. But you doubt you’ll survive.

You don’t even know why. To begin with, you aren’t even sure if you are in love with him. The swirling butterflies that flutter about when you see him tells him you are, but society’s expectations push those down. You have been in love with him for as long as you can remember; you have loved him. You have annotated every inch of him down to your memory, every contour, every bit. In your dreams he visits you, smiling sweetly. And you try to remember him when you wake up, trying to pretend that he’s still there, that he’s no longer bitter. 

“I don’t know.” Your words come out broken, punctuated by the gurgling of blood from your windpipe. 

It’s a half truth. You love him. You don’t know if you do.

“I’m sorry.”

Diluc is sobbing now. It’s uncharacteristic of him. You are brought back to the night when you saw him break down in front of his father’s corpse. And you aren’t yet a corpse: your heart is still beating faintly, your lips are still moving, your body is still trembling. “There’s a lot of things I wanted to tell you, Diluc.”

“Don’t die,” he pleads fervently. His lips graze your forehead, then—and before you know it, he’s embracing you, his tears wetting your shoulder. His begging is childish. Does he not know that the Archons have long abandoned their people? Does he know the sky is empty, and that no amount of pleads can bring a person back to life? You doubt so. “Don’t die, [Name]. I love you.”

He loves you. You smile. He loves you. Words have never felt so sweet befor, and it curbs the bitterness of death upon your tongue. “I love you, [Name]. I love you, so don’t die.”

He loves his father too. But still his father had perished. Similar to you.

“I’m so happy to hear that,” you smile weakly. Your finger starts to fall. “I’m really happy to hear that.”

You don’t have enough time to say those three words back, but it’s fine.

Your actions already did. 

ZHONGLI

note(s); reader is an adepti, takes place during archon war

A God has seen their fair share of grieving. So have Adepti. Some come with age—it’s normal for mortal alliances to die before those who are immortal, after all. There is also the Archon War, which has already torn away Zhongli’s beloved companion, Guizhong. And everyday he chokes down the bile in his throat and continues to annihilate and fight. He’s always been built for this, after all, he’s an Archon. He’s a ruthless one at that, known for his brutality and his power. And everyday he looks at you and can only pray again and again to Celestia, that you remain alive.

Guizhong and you have both been his favorites since you two have met. It was Guizhong and you first, before Zhongli met you. Both you and Guizhong were best friends; almost; like sisters and brothers. Guizhong was gentle and sweet, reprimanding at times. You were sweet too, but could be more uncouth. Strong language littered your sentences at times, and Zhongli would see it then; the way Guizhong tugged at you to scold you, or the way you would smile at her. Brother and sister.

Naturally, when Zhongli grew close to Guizhong, he grew close to you. It was funny to see that you hardly knew much about history, though Guizhong clearly loved it. And so it was almost a cycle. Whatever Guizhong taught Zhongli, he taught you. Guizhong had remarked a few times, what an incredible person he was to make even you listen to facts you had earlier called boring.

(“You mellowed a lot, Morax,” Guizhong had told him once. “[Name] mellowed you. You really do care alot for him, don’t you?”

“I suppose.”)

Gods aren’t meant to be mellowed. They are meant to be powerful. Strong enough emotionally so as to not bat an eye when it comes to deaths.

But everything falls apart when Guizhong dies.

He sees you fall to the ground, sobbing and sobbing and crying at the loss of your beloved sister. He sees the way  you touch her statue, turned to stone, cradling her face and wishing you were touching soft skin, instead of cold stone. Not sister by blood, but sister in name. He sees the way you break apart after that; Zhongli feels a human sense of emptiness and pain that comes with her death.

It’s all right, he told himself repeatedly. In his grief he has started to flood himself with reassurances. I still have [Name]. I still have [Name]. I still have [Name]. 

He sees the way you lose yourself in battle after that. Your attacks become sloppy, you become more careless. You become more injured. Zhongli never bothered with your skill. You were talented and strong enough. But now he finds himself protecting you the times you stumble, the times you start to choke out sobs during battle, the times you go wild and bloodthirsty against those you assume have contributed to her death. 

Guizhong has said once that he loved you. Zhongli never bothered to think about that. He assumed he would know it himself, when time came. He didn’t need to worry about being in what mortals called a relationship—he would get this war finished with you, become a mortal, and love you freely. It didn’t matter if you didn’t love him. Zhongli could love you at a safe distance. It would all be all right. 

He never imagined your declaration of love towards him would come so easily and devastatingly.

Zhongli sees you struck by a burst of elemental power before anything. He sees the way you shoved him inside; he sees the irony. He was so preoccupied with watching you. He hadn’t seen the enemy crawl up to him or nearly kill him. Like how he was watching you, you were watching him. And now his care has killed you.

“[Name].”

There’s an avalanche of emotions. First, he’s furious. He will leach out the killer and will inflict a thousand times more pain on them. Second, he’s heartbroken. He’s terrified of losing you. He can feel your life ebbing away with each passing moment, and he has seen enough wounds to know no healer can save you. He feels your pulse thrumming beneath your skin and he knows you’re dying.

You smile. It looks more like a grimace. “Just survive this goddamn war.”

Zhongli isn’t sure if he will. He feels like he might kill himself, that he might lay his body down next to yours, so that after death your souls would be intermingled, of sorts. It sounds romantic, but there’s absolutely nothing romantic about your death. He does what the Gods are not supposed to do. He feeds into his humanity; he cries.

“Afterwards, just live as a human. I don’t know. Be a dusty collector of antiques. Be a funeral planner or something strange like that. Just live, okay? You look like you want to die.”

You continue to ramble on. Your sentences become connected with each other. Your eyes start to flutter. Your words become faint and faltering.

“I can’t live with you,” he whispers. “First Guizhong, then you…” it’s all his fault. He should have seen it. He should have been more aware. He should—he should…

It’s too late. You’re dead, and he mourns just like a human; sobbing, aching, and dying a little inside.

For a brief moment Zhongli isn’t a God. 

hope everyone liked it! it’s my first post so im apprehensive haha be sure to like/reblog & leave a comment if u can

[linkspooky]

PITY VS. EMPATHY

Jujutsu Kaisen Chapter 265 quickly surpassed Gojo's death chapter as my favorite chapter in the entire manga. It's a high point in both Yuji's character development and the Sukuna fight, a notion most of the fandom agrees with. That being said, it's once again time for me to take a stance contrary to most of the fandom opinion. I was going to make this post two weeks ago but I'm glad I waited, because this week's chapter helps me illustrate my point in the contrasting way Yuji treats Sukuna and Megumi.

As you can probably tell by the title, my hot take of the week is that what Yuji is showing Sukuna isn't true empathy. It's not atn attempt to understand Sukuna's worldview, but rather condescending pity from a place looking down on Sukuna, which is why it infuriates him so much. This is illustrated in Yuji's atual actions this chapter, which is to go at great length to show memories from his past to make Sukuna understand HIM and not the other way around.

Whereas, what Yuji shows Megumi is compassion, because he's not telling Megumi what to feel or imposing his own views on him but rather accepting the fact that Megumi might be suffering too much to keep living on.

I'll explain more under the cut:

Guanyin, Goddess of Mercy

Yuji is, not as far along in his character development as he might seem. I don't want to undervalue his growth, this chapter shows definite progress, and I understand why it would seem that this is the completion of his arc of being a cog in society because he straight up says people don't need roles, and it seems like the manga is quickly coming to a close.

However, sometimes characters words don't exactly match their actions. Sometimes characters aren't self aware. People often call characters multi-layered and complex, but what does that mean exactly? For me, a mutli-layered character is the embodiment of "people are never what they appear to be."

A story has multiple layers when you're not supposed to take everything the author says at face value. Every time you read a story, whether you are aware of it or not you engage in some level of personal interpretation. You're not supposed to automatically accept everything the author feeds you without question. Therefore characters are not exactly what they are stated to be, and good character writing allows room for interpretation for what is going on in a character's head beneath the surface.

In a jungian sense this would be the ice berg model of consciousness. There's the persona, or the ego, which is what the person presents to the world and the people around them. Their own-self conceived image. Then there's the part of the ice berg that submerged, which accounts for all of their internal mechanisms and facets of their personality they aren't aware of. This could range from anything to like, how trauma can affect people's actions without them realizing it, things they are in denial of and don't want to admit to themselves or just like someone who's bossy but not self-aware about that trait until someone else points it out for them.

Everyone's have that friend who you try to call them out on their bad behavior, but no matter how hard you try they just won't admit it. That alone illustrates there's a difference between self-perception, how we view ourselves, behavior - how we actually interact with the world, and pther people's perception of us. Somewhere in between these multiple points of view there exists a vague outline of a person, and personality, whatever "personality" means exactly.

To step away from Jung, in a character writing sense this means a good character's motivations, personality, and actions can be viewed from multiple angles. There is conflict between how Yuji views himself, his actual actions in the story, how other characters might view him, and how he's framed in the story. The first two, Yuji's self-assigned roles, and what his actual actions amount to is a conflict that's run over the entire story.

It starts from chapter three, where Yuji's answer for why he wants to become a sorcerer is that he wants to fulfill his grandfather's dying wish, and Yaga immediately says "Is that what you really believe, or are you just using your grandfather as an excuse?" The story shows us Yaga was right to point out the discord between Yuji's stated motivation and his actual desires because Yuji changes his answer.

This stated motivation, "To do something that only I can do", or have a role as another way of putting it is Yuji's central motivation for most of the manga. Of course as I said people have multiple layers, so he can also have multiple motivations. Yuji's desire to have a good death, him wanting to be surrounded by people when he dies, his belief that fulfilling his role as a sorcerer will save other people from curses, all of these things are equally true but that one desire to have a role to play in the grand scheme of things is at the center of it.

The role Yuji has chosen is to kill curses so people can have more natural deaths, and also to stop more victims of curses from piling up. He's also resolved from the start to die with Sukuna in his body, to also spare victims of curses Sukuna might attract, and also kill Sukuna for good.

Even these stated motions are challenged right away, and then again continually through the comic.

I'm not going to go over Yuji's entire arc here, but the fact that Yuji is someone constantly interrogated for his motivations and even punished in story for his altruism is a constant pattern in his character arc.

It extends deeper than just the fact that Yuji is a selfless person in a world where selfish people like Mei Mei, and Sukuna get ahead while people like Nanami die young. A world where it is in your best interest to stick out your neck for others.

For me a lot of the harsh consequences Yuji's conflict in the story also centers around the fact that he can never live up to the role that he has assigned himself. Not only is Yuji mistaken in his perception of himself, but the fandom in general is as well, because most people tend to take Yuji's stated desire to guide people to good deaths and save them at face value.

For example, people were excited to point out the Guanyin symbolism directly referenced this chapter, and also the significance of the seal for Yuji's domain.

There is much speculation, but it seems certain that this hand sign is an invocation of Ksitigarbha, a revered bodhisattva in East Asian Buddhism. Ksitigarbha is also known as Jizo Bodhisattva in Japan. His name can be translated as Earth Womb, Earth Matrix, and Earth Store. These translations evoke the image of a vessel, which seems relevant to Yuji's role as Sukuna's vessel.

While I agree the symbolism is well suited for Yuji's goals, someone who wished to guide people to a more peaceful death, and also the way Yuji opposes Sukuna right now determined to kill him who lingers in this world as a parasite for a thousand years finally back to the cycle of reincarnation. It even alligns with his desire to try and make Sukuna understand the value in one individual's life by showing him his memories. In that way Yuji is fitting the role of someone guiding others to enlightenment.

However, Yuji is not a bodhivista in the end. He is a normal teenage boy. In fact this is the crux of Yuji's character to me, he is a good kid, but he's not as good as he thinks he is. If anything this is what this chapter goes to great length to demonstrate, that Yuji despite being a science experiment to create the perfect vessel for Sukuna for Kenjaku's 1,000 year plan, had a normal childhood. All of the things Yuji says in this chapter are for the most parts the musing of a normal kid his age.

This isn't me criticizing Yuji. I'm just trying to state the message I believe Gege is getting across in this chapter. It's similiar to the conclusion Yuji himself comes to, the conclusion that the value in life lies in the memories you make on a day to day basis, even if you're not living a life full of adventure.

Yuji's conflict is that he pursues the role of a bodhisvatta, and he holds himself to the standard too of someone who exists to be a sorcerer because by doing his job as a sorcerer people will get saved as a result. However, Yuji as a person will always fall short of this ideal, because ideals by the nature of them being IDEAL and therefore not compatible with reality.

To use an example for another media, it doesn't matter how hard Shirou Emiya strives to save others, or how selfless he tries to be, he will always fall short because the ideal of saving absolutely everyone is impossible. However, in most versions of Fate's story Shirou absolutely refuses to compromise on this and in the future, Shirou will continue to strive towards the ideal of saving everyone until his inability to achieve that ideal and the number of people he's failed to save eventually breaks him.

So Yuji may genuinely hold onto an unbreakable ideal, but is his inability to let go of that ideal necessarily a good thing? His ideal might break but what about Yuji as a person? Yuji will in the end always fall short of that ideal because of his humanity, especially since Yuji is the most human character in the story and practically the only one with a normal background.

There's also as I stated above Yuji might not be aware himself of the ways he falls short of his ideal, because he has a flawed self perception. Yuji is getting closer with his revelation in this chapter of looking at reality instead of trying to have a role like a character in the story, but that doesn't mean he's finished (since the story's not finished) or he's become a fully realized character.

One of my favorite quotes from my favorite Yuji video helps describe the point I'm getting at with Yuji's lack of self awareness and the way he sometimes falls short of the savior he sees himself as.

By assigning himself the role as heroes, and the other characters as victims to be saved Yuji sort of condescends to the people he endeavors to save. I describe this as condescending because this way he doesn't see the people he saves as fully fleshed out human beings who are separate individuals from himself.

Yuji is alligned with Higuruma of all people, someone who shares Yuji's savior complex and becomes disillusioned because the people he decided of his own free will to protect as a defense attorney are not perfect victims.

Someone who becomes disillusioned when looking at flaws in other people, and also cannot deal with his own guilt when he too, becomes like the crimminals he once defended after becoming a murderer.

In fact Yuji sees himself in Higuruma's inability to live with his guilt, and only being able to see himself atoning with his death. Yet, despite Yuji seeing himself Yuji also seems uneasy with Higuruma being unable to see one other way forward in life.

Also, remember that Higuruma is a defense attorney. The whole point is he's supposed to defend crimminals even if he knows they did the crime and try to get them off their sentence and win the trial. Therefore at this moment Higuruma has failed to live up to his ideal.

There's another character Yuji is paralleled to constantly, who also shares Yuji's symbolism of being associated with a divine, and benevolent figure.

Geto's ears, his dressing as a monk in a Gojo-gesa, this official art all connect Geto to be Budha and yet it's quite obvious that Geto has failed entirely to live up to his role as the budha.

There's so much symbolism aligning Geto as a divine figure bringing salvation to others, and this corresponds to his original ideal as a sorcerer who belived that sorcerers had an obligation to use their powers to protect others, because in a just society the strong protect the weak.

Geto is an outsider who wasn't born into the Jujutsu World who entered in with an attitude different from most sorcerers by trying to become a sorcerer for altruistic reasons. However, Geto, like Higuruma grows disillusioned when he's confronted with the fact that the people he wants to save are flawed.

However, Geto's ideal was mistaken to begin with because much like Yuji, by distinctly separating people into the weak and the strong, he's separating them into two categories where the former is inherently inferior to the latter. Other people existed to be saved by Geto. He couldn't cope with the fact that the people he wanted to save were people and not victims.

So we finally circle back to chapter 265 where Yuji is attempting to relate to Sukuna and see some humanity in him... or is he?

Yuji shares the same flaw of both Geto, and Higuruma where he sees the people he wants to save as existing in a separate category than himself. So, is what Yuji is offering Sukuna understanding and an attempt to emotionally reach out to him, or is he attempting to show Sukuna the mercy of a conqueror.

Even if Yuji wins the battle and spares Sukuna's life in the end, it won't be Yuji's compassion or empathy that won him the fight. If Yuji wins against Sukuna it's simply because he's stronger. Yuji only feels confident trying to offer Sukuna in the first place because this time he's finally confident he's stronger. It's mercy, offered at a threat with the same time. Yuji, like Geto, is still separating people in categories of strong and weak, he's just showing mercy to someone he now considers weaker than him which is why Sukuna reacted the way he did.

As I said above, Sukuna begins by just assuming that Yuji had just let go of his anger, and was now trying to reach out to him on some other way. He calls him weak for being unable to keep hating his worst enemy, because in Sukuna's world view Yuji should keep hating him and wanting to defeat him with all his strength to the end. Sukuna mistakenly believes for a moment that Yuji is the kind of person who, cannot sustain his anger even towards his worst enemy.

It's when he realizes that Yuji is just showing him simple pity that he snaps. Yuji doesn't care for understanding Sukuna's worldview or seeing the humanity in him, in the same chapter he says he can't forgive people who act like lives are worthless.

To Yuji's credit he admits he doesn't really know which side of the fight is truly human, or whether or not he's right, he admits it's his own personal belief. A lot of Yuji's wisdom this chapter, I'd argue, comes from admitting the things he does not know, and acknowledging that there's no objective truth or "meaning" to the world. However, he still separates people into "good guys, and bad guys".

Yuji isn't actually that interested in considering the perspective of those he considers the "bad guys" he just still had a faint hope that he could somehow convince Sukuna to see worth in his life by sharing memories, therefore convince Sukuna that an individual's life can have value.

He doesn't want to understand what Sukuna thinks, he wanted to change the way Sukuna thought so it was more like himself. Yuji doesn't ask Sukuna any real questions about himself while exploring his memories. Kind of ironic, because for some reason Sukuna of all people was patiently listening and even engaging Yuji in conversation while he went through the most mundane memories of his childhood.

Irony on top of irony, Yuji's worldview does resemble Sukuna's in some ways. They're supposed to mirror each other after all, Yuji is literally the son of his identical twin brother reincarnated. First and foremost Yuji's offer of mercy isn't really breaking away from Sukuna's ultimate ideal of "Might Makes Right." Yuji isn't seeking some other way of settling this besides fighting Sukuna, he's going to make Sukuna submit because he's stronger.

Maybe there was no hypothetical "third way" for Yuji to put down Sukuna other than fist fighting him into submission. There probably wasn't, Sukuna's pretty up front what he's about, and what he's about is being the strongest and nothing more. He lives and dies by violence, a Sukuna who isn't the strongest is nothing more than a corpse so can that person be reached? However, I just wanted to point out that Yuji wasn't interest in solving this in any way other than a fist fight to begin with. As opposed to say, the way that Takaba handled Kenjaku taking a third route by making Kenjaku feel entertained for the first time in 1,000 years.

In the middle of that fight Takaba even APOLOGIZES to Kenjaku, for saying that it doens't matter if he doesn't understand his audience and he fails to make 1% of them laugh as long as the other 99% of them are laughing and states it's his duty to make everyone laugh otherwise he's failed as a comedian.

Yet, another reason why this is the greatest fight in the manga. Yuta even remarks in the end that Takaba isn't someone who can kill people. Not only does his cursed technique negate most damage to him by turning it into cartoonish antics, but Takaba's comedy is also all about understanding his audience and trying to get his audience to understand him because his comedy began when he clowned around as a kid when he was lonely. All of this to say we've been shown more points of view than just "Might makes Right" and there are characters who've resolved conflicts in other ways. Kenjaku is also, probably as monstrous as Sukuna, and yet Takaba engaged him right from the start by asking him about his motivations and if there was some other way he'd be happy than the merger.

You could argue that maybe Sukuna can't be understood. Characters in the story certainly try to and all they amount to doing is projecting their own ideas onto Sukuna. Yorozu projects her obsession with love onto Sukuna and we get the idea that Sukuna must somehow be lonely at the top, but in the end Gege subverts this expectation by showing us that Sukuna was never lonely, rather characters like Kashimo and Gojo projected their feelings of unresolved loneliness onto him. They are strong, and he is strong, ergo he must feel the same crushing loneliness as them. Gojo himself demosntrates not understanding Sukuna as he expresses regret in the afterlife that he was unable to make Sukuna go all out and that he related to that guy's loneliness only for Sukuna's response to be a very gratified "You cleared my skies."

Sukuna: Others love us for our strength, and we respond to that love.

The twist of that is Kashimo and by extension the audience assume that Sukuna must not understand love, and therefore he's lonely. However, Sukuna all along had his own definition of love, that people express their love and admiration for him by trying to fight him and he receives their love by facing them at his full strength and giving them the chance to prove themselves. Sukuna's habit of toying with his opponents is an extension of this he wants to see them realize their full potential in their fights with him. Sukuna does understand love, he just REJECTS our understanding of love. Sukuna does not think in the way that we do, but that doesn't mean he doesn't have things he values, or is devoid of positive traits. Respect for his opponents, honoring strength, these are all values they're just not Yuji's values.

As stated above, the irony of all this is that Yuji does buy into "Might makes Right" to an extent. To reiterate, following Geto's "the strong exist to protect the weak" still divides people into two categories strong and weak and implies the weak are helpless. A benevolent might makes right, as you might say. Yuji wants to show compassion to the weak, but he also loathes weakness, he loathes himself for being weak.

"There still may be lots of people who are weak like you."

Higuruma even points out the flaw in his mindset, well if you loathe yourself for being weak, then what about other people who are weak do you loathe them too? I think it's no coincidence that Yuji is paralleled not one, but two (Geto, Higuruma) people who tried to use their strength in benevolent ways only to start out loathing the people they were trying to help. I'm not saying that Yuji secretly hates weak people, but his mindset of black and white, weak and strong, a mindset that can't accept the greys of reality is a dangerous mindset to have and Yuji has the potential to become like those two.

However, these parallels exist for us the audience to see just how close Yuji was to repeating the cycle, because it makes it that much more meaningful when Yuji grows in ways that Geto and Higuruma doesn't to move one step forward towards breaking that cycle instead.

Yuji is someone who experiences the same loneliness as Sukuna and Gojo for being the strongest, though to a lesser extent because he wasn't born into the realm of sorcerers. At the start of the manga we're introduced to Yuji a kid who despite being someone friendly to everyone he meets and incredibly social, has a friend group consisting of two friends. Two friends who hang out with him because they need a third member for their occult club. Yuji for the whole manga excluding one exception really only knows how to form relationships based on someone else needing him.

Noritoshi Kamo: Itadori why did you become a Jujutsu Sorcerer? Itadori Yuji: It just sort of happened. i'm a loner. I wanna help a lot of people so when I die I'll be surrounded by people.

Yuji has also appeared in flashbacks in early culling game as someone who doesn't really understand, or even take notice of weak people. Yuji in Amai Rin's flashback is beating up bullies, a heroic notion, but from the perspective of somone spineless like Amai who was just going along with the bullies so he himself wouldn't be bullied because he didn't have the strength to stand up with them, and wasn't born with the body of an MMA fighter at fifteen, Yuji looks scary.

The reason why reducing people to labels like strong and weak is reductive is that humans are complex and contradictory creatures. Let's take Amai Rin for example, an incredibly minor character. In the real world, Amai Rin would be someone as equally complex as Gojo Satoru. Amai Rin a middle school bully would have just as many layers to his personality, inconsistencies, contradictory behavior, different sides of himself as Gojo Satoru himself.

Humans are complex in the first place because we can't see inside their heads, we can only see inside our own heads and know that we're complex and sometimes say things we don't mean, behave differently depending on the situation, do things we're not proud of, but we also usually don't perceive others the same way because we are not inside their heads like our own. Amai Rin is just as complex and multifaceted a human being as Gojo Satoru, he is a person with his own memories and life experiences that shape him, but from Gojo's worldview Amai Rin is a minor character. By reducing him into someone weak, Gojo doesn't care to try understanding him.

So Yuji for the longest time does not try to see the humanity in weak people (except for his big moment with Junpei) he just sees them as people to be saved. Which is why his real moment of progress to me comes the next chapter, with the way he shows empathy to Megumi.

Yuji begins when speaking to Megumi by relating his frustration with his grandfather for not wanting to go through chemo and accepting his own death in old age. Yuji is now mature enough to understand that just because his young body is tough enough to endure chemo, doesn't mean an old man's body can withstand that pain. When he was young Yuji had a very immature viewset of "Well, I can endure it, so why can't they?"

Yuji then compares the situation with his grandfather to Megumi. Yuji wanted his grandfather to keep living, so he couldn't understand why he wouldn't even try the chemo. Yuji wants Megumi to keep living, but he now understand why Megumi wants to give up. Yuji' fe elings of wanting Megumi to live are not more important than Megumi's own feelings of despair and wanting to escape pain.

Yuji is no longer imposing his feelings onto Megumi. Yuji is respecting Megumi's feelings, because in the end he can't FORCE Megumi to live. It has to be Megumi's choice whether he wants to live or not.

Yuji is no longer pushing Megumi away, or acting protective of him, while disregarding his feelings. He has gone from "as long as I'm around you'll suffer" to "I'll be lonely without you." Yuji doesn't ASK Megumi to live even though he wants to, because he knows he can't tell Megumi to keep on living. What Yuji does is just an honest expression of his own feelings. He's sharing his own feelings after listening to Megumi's ideal life with Tsumiki and Yuji, because that's what empathy is, an exchange, a conversation.

People often jokingly use the term "yap sessh" on Twitter, but yeah that's the different between a conversation and a "yap sessh" in the former you actually care what the other person has to say, in a latter it's only about expressing your own opinion.

That's why this panel, is such a perfect contrast with this panel.

One is Yuji offering Megumi a choice. The other is Gojo taking Megumi's choices away by giving him the false choice of "go to the Zen'in Clan and be a sorcerer and your sister will be abused, or come with me and be a sorcerer." Gojo railroaded Megumi into being a sorcerer and never let him decide for himself if he wanted a normal life. Gojo didn't see Megumi as his own person either, he, just like the Zen'in Clan just saw Megumi as the holder of the Ten Shadows Technique.

This is entirely different to Yuji who respects Megumi's feelings. Yuji expresses that he'll be lonely without Megumi, but that's just laying the cards on the table. In the end Yuji leaves what happens next entirely in Megumi's hands. Yuji cannot tell Megumi to live, even though he wants him to live so badly, he cannot tell Megumi to just get stronger and keep on trucking because he's not Megumi, he's not experiencing Megumi's pain right now.

Yuji does not tell Megumi to live and therefore becomes the first person in Megumi's entire life to give him a choice. This choice is the most important choice of all, a choice we make every day of our lives. The choice of whether we want to keep on living in this world.

Hopefully, Megumi chooses yes.