#at first. arguably worse for it than being alone. but then it starts being less horrifying

[koukaaa-descent]

30 tag limit 💔

regardless. pangolin what if I GOT you. This is genuinely so interesting to contemplate. And I ran out of tags to use. the dynamics. both the same and inexorably different. Goodness Gracious . it’s very interesting to try and contemplate what buddy would do because, before now, it was just ‘the masked, buddy’ in my head. Now there’s this whole person, fully aware and ‘human’, starting off in the story as not an entity but rather an individual. I think I could work on the phrasing of that, but the thought is there I think. it’s such a strange and interesting flip of the dynamics. Buddy taking care of them (even still) and the masquerade taking care of it (even still). both different and almost the same. i am NOT surviving the winter

on a kind of related note; contemplating buddy as a creature and as a human are two comparisons that are so fucking . Nuts to me. i need to be able to study buddy beneath a microscope

mildly crack AU for Four Of Them verse, roleswap. enby employee who lost it's crew but finds them again but oops they're all Masked now!

this is so funny to me. instead of one masked trying to claw its way into a ship, it's three masked trying to convince an employee to stay with them in a facility (in the most terrifying physically-grabbing-it way possible), and reluctantly tailing buddy back to the ship. likelihood of random death via mask the first week increases by 80% in this au at minimum. buddy goes off the deep end faster than the default four of them crew because its only company are the giggling rotting corpses of its team and it knows they watch it sleep. it forgets how to communicate like a human in two weeks. when the bodies give out it joins a team of three and kills them all in their sleep with the masks it snuck on board. the masked are all remarkably more calm and content in company life because they're around each other (other masked). they love their weird non-masked masquerade member very much. meanwhile buddy has cracked like a thin pane of glass and doesn't know how it's still alive

[mari-lair]

How does gon having even less self worth change his personality from canon? We have already seen how, erm,volatile he can get when the ones he loves are hurt, and part of me is scared for our boy about all the different ways he could hurt himself both physically and emotionally, especially now that he's more powerful and knowledgeable about nen then he was in canon.

It's not a super drastic change, at least on the volatile/reckless aspect, cause Gon was highly discouraged from making Nen vows when he learned about them, and he was raised in a world where Breath of Archangel exists (He would never use Breath of Archangel on himself, the cards number and transformation limit are too small, but he knows that if a loved one gets too hurt, he can 'save' them.)

His stubborn "I need to earn my victories in a way that makes me and my giant standards for myself satisfied or I'll feel weak and useless." and "I can die but you can't!" mentality is mostly the same, despite him being even more of a monster. While Gon's attraction towards powerful opponents started earlier in this AU, his pride is lower (he may be in Ging's shadow on both islands, but he was easily the strongest person in Whale Island, no competition. By comparison, he isn't a big fish in Greed Island), and people he looks up to saying he needs to be strong/ looking at him as a powerhouse more than a kid, is not a greed island au exclusive. He is also arguably more competitive than Whale Island Gon, so the approach may vary but overall his fighting vibe is the same "impulsive but smart in battle that use fights to prove or punish himself"

What does change a lot is Gon's way of approaching people: Whale Island Gon was always loved by people, GI Gon was loved by mostly NPCs built to love him, and he lives in a game he enjoys but that people see as a ruthless competition at best and a nightmare at worse, there is a bigger disconnect than he had in whale island, so he is insecure about how enjoyable/valuable his presence is. When he interacts with real people he wants to show that he is useful and tries to be as helpful as he can (with tasks, with game information, even with nen tips) without expecting others to help him back. He wants to gush about the game but he also wants to earn their time in a way. There is a reason a considerable amount of people confused him for a very charming NPC at first.

Another difference is that he is curious about how players feel about him, so he can bluntly ask if someone likes spending time with him or if he is giving too much info too fast, etc. He is more self-conscious and insecure with strangers. He doesn't assume a player will stick around even if he likes them, so he can spend a lot of time alone. Unless he gets a goal that fires him up or starts a conversation on a topic he is passionate about he will unconsciously prioritize the person he accompanies (in small ways, like "Where do you want to eat?" instead of "Where should we eat?" and such). The more he likes someone the more selfish and stubborn he is with them.

[wordvomit2004]

22/02/23

it’s been a while since i’ve last been on here.

i’d say things have gotten objectively worse, like missing college and re-doing a year, and being less active. i’ve been able to find more comfort within myself though, and comfort in being alone with just my thoughts (and music). 

i’ve figured out the friends who actually value me which has shifted my mindset positively - from trying to please everyone to only being concerned with the people who are concerned about me. 

college has been increasingly harder to attend. its so easy to miss a lesson without care even though i find all my subjects interesting and want to do well. that being said, today i’m going in to do a bit of catch up work hopefully, which will be more college work than i’ve done in the last few weeks. my teachers either have hope i will pull through and are leaving me to it or have completely given up - either way i still wish to do well (as everyone does), it’s just hard to focus on the work when my brain is always telling me nothing is worth it and i should spend every waking moment in bed doing fuck all. 

i need to stop smoking as much as i do. its silly how much i keep telling myself that but it’s fucking hard. it’s sort of the only thing that takes my mind off things. its a sort of comfort, and to be honest the social aspect of smoking is arguably unbeatable. getting thrown into a first-year conversation about the latest gossip for 10 minutes while out for a smoke can sometimes be the highlight of college that day. theres strangers i’ve told my biggest secrets to outside buildings or parties while out for a smoke, and you never have to worry about it coming back to you. its not the reason i started but it’s a big reason why its hard to stop. i will cut down though. 

i started CBT therapy but it’s a phone call once every 2 weeks so its all down to me which is fucking difficult. i’ve lied to this poor woman too many times just to get out of feeling shame for not doing half the things i should’ve done. i do have hope though and today feels different, i’ll grace this page with things i plan on doing today: college work, washing, reading (The Courage to be Disliked), buying air drying clay (to make an ashtray...i will cut down though).

that’s all for now. a song i’ve been listening to on repeat: Step On Me - The Cardigans

[literatikoo]

Lane Kim deserved better

I mentioned a couple of weeks ago that I would only write Lane Kim meta when I am very very angry because I need to be powered by spite and petty energy to unravel exactly how much of a disservice this show was to Lane and by extension any Asian kid with a similar life. And, well, it's happening now, so buckle up kids, this is going to be a loooong ride because I have a lot to say.

Before we start on the negative aspects, the show got a lot of things about Lane right, which is why I care so much about her character. Yes, ASP obviously didn't know how to write a POC experience and it's seen in the way some very harmful stereotypes were propagated (the tiger mom trope, Mrs Kim's religious beliefs, the depiction of the Kim extended family etc) but at the same time Lane was beautifully written as a character, unlike her plot which left much to be desired. Lane Kim was an Asian girl with rock n roll dreams who had an extremely fraught relationship with her mother and had to fight for even a semblance of independence. And I hate to say it but a lot of daughters of Asian households are forced to hide a part of themselves from their families, so Lane's story was authentic.

Not only was Lane amazing as an individual, she was also a great friend. She was the only one who was really in Rory's corner; she never judged her and supported all of Rory's relationships (my favourite example of this is when she barely tolerated Jess in S2/3 and then did a complete 180 like 5 episodes later, all because Rory decided to finally accept she liked him). Lane never pointed out what Rory was doing wrong not because she was afraid of doing so but because the two of them had been friends for years and Lane believed that Rory would figure it out one day. Lane shows this unconditional kindness not only to Rory but to everyone. She takes in her Korean cousin and teaches her to have fun even when she's afraid that Mrs Kim has replaced her, she lets Gil be in the band because she empathises with him, she takes care of the band and prevents it from breaking up multiple times. And these are only a few examples of Lane being the kindest character on GG.

One of the best things in Gilmore Girls is that the most unproblematic, amazing guy is given to Lane. Dave Rygalski is the best love interest on the show hands down (Sorry to my boy Jess but Dave was LEAGUES ahead of him at 17) and Lane definitely deserved someone like that. Their story was adorable and I would have loved for them to be endgame. However, what grates me is that when I see people talking about Lane "deserving better," it's usually about Dave vs Zach. When Lane actually deserved better as a WHOLE and not only in terms of love interests. I always thought it made more sense for her to end up alone at the end of the og series. Because Lane was a person who craved independence and she was not going to get that while tied to some guy (even if that guy is boyfriend extraordinaire, Dave Rygalski). It's even worse when we see that Lane is the only female character on the show to be treated this way. Rory rejects marriage for her career while Lane ends up with marriage as her storyline. Lorelai and Luke get back together but their relationship is still left open ended, though arguably it would've made more sense if they got married when Lane and Zach did. Paris gets into Harvard Medical school and gets a great relationship, similarly Sookie gets the family she wanted and continues to be amazing at her job. But Lane... god Lane is the only one without an open ending, without any space for speculation of where her life might lead her. Not only did they marry her off, they also gave her a terrible first time and twins, effectively locking her to Stars Hollow. The show even cut down all hope of her being a rock n roll mom as one of her S7 storylines is choosing the kids over going on tour with Zach. She doesn't get to be her own person for more than ONE season; she's stuck with being a daughter and then a wife and then a mother.

Something else that angers me about Lane's storyline is that we never really get to see how badly her relationship with her mom affects her. Don't get me wrong, I adore Mrs Kim's redemption arc and I think it was beautifully juxtaposed to Lorelai and Rory's crumbling relationship, but having a mother like that is hard. Not only did Lane have to hide 90% of her personality from Mrs Kim but she also lived with the fact that one day she might have to choose between her dreams and her mother. In the end, Mrs Kim makes that choice for her and deals with it by kicking Lane out in S4, and yet we never really see how that negatively affects Lane. Hell, Jess acts like a broody teen for two seasons, Rory wastes six months of her life away at the DAR and they both come out of it successfully. Lane gets kicked out, figures out her own living conditions, gets a job, works insanely hard for her band and... ends up having to give her dreams up completely.

Lane and Paris shared a lot of similarities too, even if they both had different friendships with Rory. They both came from terrible families and looked to Lorelai as a mother figure, they both cared deeply for Rory, and they were both incredibly passionate about their careers. Paris made calendars and flashcards and went crazy studying for both pre med and pre law. Lane was a walking, talking music encyclopaedia, she bought CDs obsessively and organised them by genre under her floorboards, she taught herself to play the drums and then found a band to play for. And yet... only Paris becomes successful in the end, whereas Lane takes over Kim's antiques. Lane was still a musician in AYITL and she can be rock n roll even with kids but this is all hypothetical and we never see it on the show.

There is a lot of terrible, lazy writing on the show and a lot of characters get ruined because of it but with Lane, her character stays the same, they just ruin everything else for her. I think she'll be an amazing mom and will probably make her best out of doing music casually. But the writers also took something so special and destroyed it just because Lane stopped being as important to the plot as she was in seasons 1-3. Lane and Rory drifting a little after Rory leaves for Yale makes perfect sense, that's just how relationships are, always changing. And yet as Lane's importance to Rory decreased so did her importance to the writers.

Lane wasn't the kind of character that needed character development or a redeeming character arc- she was never a bad person and nothing about her had to be fixed, unlike Jess or even Paris. All she really needed was for her dreams to come true because for the first 4 seasons her dreams were the biggest fixture of her personality. Like how Jess needed to overcome his trauma and Rory needed to figure out where she fit in and Paris needed to become a girlboss, Lane needed to realise her dreams because that's where her arc was leading her. But it just didn't happen. Instead, Lane becomes 2-dimensional; a large part of her screentime is taken up by Zach problems, her dreams fall flat and she becomes tied to Stars Hollow for the rest of her life. Not to mention we see less of Lane in favour of Logan and the dickhead posse.

This is not me hating on all the other characters I've mentioned in this meta, I'm just pointing out the lack of respect the writers have for Lane in comparison to all these other people who fulfilled the role they were made for. Why would you write Lane to have all these dreams and make her struggle so hard for 4 seasons just to smash them to pieces? And why is it that one of the only POC characters on this show is treated like this?

And you can't tell me the writers didn't know what they were doing, not when this is a direct quote from Lane in S7:

"It was such a small window -- a peephole, really. For years, I was this repressed kid, and then there was the briefest of windows. And then -- slam. All of a sudden, I'm this overburdened mother. I barely got to do it, Zach. I barely got the chance to be a person."

[itsclydebitches]

RWBY Fairy Tales Recaps: “The Girl in the Tower”

Hello, everyone! It’s been a long time since I added to this collection. My bad 😬

That’s because—as I mentioned in passing a couple of times while answering asks—I got pretty stuck on recapping this fairy tale. I realized (several weeks after I’d first started) that this was because I wasn’t actually recapping “The Girl in the Tower.” Rather, my thoughts regarding Salem and the implications attached to this short spiraled into a much broader dive into RWBY’s handling of sympathetic villains, particularly the women. Though everything I wrote is relevant to the tale, it got to the point where I was trying to do far too much in an otherwise narrowly defined post, spinning in writing circles until it felt like I didn’t know what I was trying to accomplish anymore.

Eventually I made the painful, but necessary move of scraping everything and starting over. Now, here we are!

Much of what I originally had to say still colors this recap, but let’s actually stick to the fairy tale this time, yeah? In addition, though in the past I’ve done a detailed comparison to Myers’ original story, this time there was so much to cover I didn’t want to get sidetracked again. Outside of a quote or two towards the end, we’re keeping to the adaptation.

Let’s get started!

Ozpin begins the story by summarizing that “a beautiful girl was locked in a tower by her cruel father” and right off the bat we hit one of my biggest problems with this fairy tale as a part of the RWBY-verse: there’s no subversion. There’s no twist, no surprise, not spark of originality here. RWBY markets itself as a fairy tale that plays with other fairy tales and though yes, we’ve discussed as a community how those changes can mean almost anything nowadays (there’s no unifying intention, let alone one that actually functions as a subversion most of the time), but something usually exists to spark viewer interest. Little Red Riding Hood now hunts the wolves herself. In this universe the Tin Man already had, but lost, his heart. Pinocchio still becomes human, but then gives her life less than an hour after achieving that (never established) dream. You get the idea. Even when RWBY is playing with fairy tales in a manner that arguably hurts the story as a whole, it’s still some kind of innovation that might keep the viewer interested, at least for a time. Yet here, “The Girl in the Tower” is as straightforward as any Golden Era Disney film which, while not inherently bad, doesn’t exactly fit RWBY’s marketed appeal. There is a “beautiful girl,” a “cruel father,” the terrible fate of being locked away, and eventually the handsome knight come to save her. There’s admittedly agency in Salem sending her notes (we’ll get to that) and the ways in which this story is colored by our knowledge that she’ll become a villain past her Happy Ending... but the actual fairy tale on its own? It’s as bland and straightforward as they come, made all the worse by giving Salem the means to do something compelling—powerful magic at her fingertips—and simply... not using that. 

As is the trend in this collection, a lackluster tale is made better by the stylistic presentation, particularly when it comes to the backgrounds. We get to see the ruin of Salem’s castle moving backwards to its initial glory—and, notably, looking a whole lot like Beacon Academy. Crush my heart why don’t you—and all the animated gears work like a puppet display, cranking individual pieces into a unified whole. I don’t need to explain to anyone reading this why the gears themselves are significant.

We’re introduced to the King who, in true king fashion, wears a crown. Now, question: is it the same as the Crown of Choice?

I’m honestly not sure. (Bear with me. I promise I don’t need to get my eyes checked.) One would think not given that they’re made of different materials and have different gem stones too. The King’s is silver with some kind of blue jewel, whereas the king from “The Indecisive King”—whom we know did possess the Relic—is copper-y with... emeralds? I’m not going to pretend that I can identify gems in real life, let alone through RT’s animation. The point is that they’re even shaped differently, which should imply that no, there’s no connection between the two.

However, RWBY is also the show that gave us this:

I’ll get into the problems of erasing the SEW’s race in my recap of “The Warrior in the Woods,” but for now it’s just important to note that RT didn’t bother to keep their character consistent between their show and the book that it’s based on, even when this visual connection is the one thing that ties two different mediums together. RWBY is also the webseries that gave us this symbol

alongside this one

yet has now, apparently, insisted that there’s no connection between them. As far as I can tell, this was confirmed during a Reddit AMA back in December of 2021 with Kerry saying, “in hindsight we probably shouldn’t have let some elements be so similar, but no, Jaune and Salem aren’t related” (Lucifer_Crowe). AKA, all us “Jaune is a descendant of Salem with the emblem becoming simplified over the generations” theorists should pack up that idea and move onto something else. A part of me is very revealed by this announcement, mostly because I wasn’t interested in dealing with the fallout of Jaune getting (another) major contribution to the plot. That relief aside though, this admission that “we probably shouldn’t have let some elements be so similar” reinforces the idea that we really can’t trust what we see on screen in RWBY. Very similar emblems (and hair color, eye color, a powerful lineage, to say nothing of Tyrian’s comment) apparently mean nothing. And this is by no means a one-off mistake. There’s no effort made to adapt a canonical illustration. The animators had to scramble to distinguish silver eyes after the writers didn’t consider that gray eyes would look identical. Our last arc gave Ironwood a semblance that provided no noticeable difference in how he was animated once his aura was broken, despite that being a core way for the audience to determine what abilities are or are not influencing the story. In short, as a visual medium the RWBY franchise should encourage a wealth of analysis about the animation itself, but the story is so inconsistent we simply cannot trust that anything we visually pick up on is actually significant. Or, in turn, that a difference means that there’s truly no connection here. Is the crown that adorns Salem’s father’s head the same Relic that caused a previous king so much grief, perhaps providing an explanation for his similarly gaunt appearance and his strange choice to keep his daughter locked away, convinced she will perish if set free?

Or is there no connection between the two images, leaving the King as a generic, motiveless bad guy in a tale already struggling to live up to RWBY’s attempts to innovate, the visual parallels pure coincidence?

It’s most likely the latter, but we can’t be sure because RT has a long history of visual mistakes. They really are the studio that might animate two totally different crowns and then unexpectedly go, “Actually yeah, they are the same. Why don’t they look alike? Uh… because they’re shown in different stories! Yeah, or something like that. It’s a smart stylistic choice, trust us ;)” Fans should be able to theorize about a story with confidence, knowing the authors will either validate the details they caught, or surprise us by going in a new direction that is, crucially, still supported by what we see and hear on screen. Yet RWBY continues to fail on both fronts, forgetting to include significant details in their show while simultaneously positioning others as only existing in meta-commentary.

That tangent aside, let’s get to the plot proper. We’re introduced to this King whose wife (also unnamed) dies while delivering Salem (another tired choice imo). He’s so consumed by grief that he can’t even hold his daughter when the nurse presents her to him and initially, I took this to mean that the King locked Salem away out of a warped sense of danger. Hence, theories about how the Crown of Choice might be influencing him. Apparently though, from what else we can gather, he’s just an abusive asshole. That it. It’s originally implied that Salem is locked up because the King feared losing her as he did his wife, but then that’s shown to be an excuse for his far more generic cruelty. He claims to keep her in the tower so that Salem may be safe from the evils of the world, but the understanding for the audience is that in reality he just sees her as another of his possessions, a living treasure to keep secure in an overly-large chest. Frankly, it feels like too many motivations for what amounts to a character with literal seconds of screen time. RWBY as a franchise has a habit of introducing various concepts in an effort the make characters complex, but then the failure to follow up on any of those ideas results in minor confusion at best, outright contradictions at worst. The King is by no means the most overt example of this, but I find it notable that even for what is ultimately meant to be a cardboard cutout dude functioning as a plot devise, RWBY feels the need to introduce “nuance” that inevitably falls flat when nothing is done with it.

“You are my most precious possession,” he tells a very young Salem, just in case there was any lingering confusion about whether he considers her a person or not. Why make the King interesting with an internal life of his own when you can just make him another bad man doing bad things for... reasons.

The strangeness of the King’s characterization aside, something I do love about this moment is his hand reaching out towards Salem, overly large and looming… only to settle kindly on the top of her head. It’s a great visual for an abuser, where we as the audience know he means Salem harm, is currently enacting that harm, the implications of the shot are not inaccurate—and yet the end result of the gesture is just a pat on the head. This shot neatly summarizes how abusers can hide behind perceived intentions, enacting choices that appear kind if you don’t know the whole situation. We see similar work with the teddy bear he gives to Salem. Is a father giving his daughter a toy in-and-of-itself a wonderful, wholesome gesture? Yes. Is a father giving his daughter a toy in an attempt to compensate for keeping her perpetually locked in a tower wonderful and wholesome? I sure hope we all know the answer to that… Every once in a while, RWBY manages something really nice and I’m forcibly reminded of the potential this series isn’t capitalizing on.

This is Salem’s norm all throughout her childhood, asking to be let out and instead being given additional treasures to pass the time. Later, when she’s much older—sometime in her teens—we see her attempt to pass through the barrier that surrounds the tower and keeps her from escaping out the window. Frankly, I would have given the audience this moment when she was still a kid because as it stands, the action reads like this is Salem’s first time trying to leave the confines of her room. And that’s not just because it’s our first time seeing the attempt: Salem deliberately touches the barrier and then cradles her hand against her chest as if it has hurt her and like yeah, sure, maybe she prods the equivalent of an electrical shock because she’s that bored, but it’s just strange to show an action she would have learned to avoid by now, especially when you’ve already modeled her as a child. It’s one of those choices that doesn’t mean much on its own, but considering that one of my primary questions is how much Salem has tested the limits of her freedom prior to calling on strangers to die in her name… yeah, I’d like to know why an acknowledgement of the barrier doesn’t come until years after it was erected.

Unable to go outside, Salem asks her father for books instead, so that she might at least experience things second-hand. “The world in these books,” Salem says. “What a marvelous place!” This series has certainly played with the concept of storytelling itself—seen most notably in the faunus fairy tales and Ozpin’s meta-comments on each story — and though “The Girl in the Tower” doesn’t capitalize on the implication, I’m intrigued by Salem’s use of the singular here: “world” and “place.” It’s like she’s conceptualized all these different stories into a single vision of what the world is. Again, it’s not something RWBY is interested in exploring (and there certainly isn’t time for it), but does Salem think that everything she’s been given is non-fiction? Is she able to distinguish between a story, a history, and the bias that influences both? The answer is likely “no” given that she has, canonically, never set foot outside this room. For those fans who are interested in exploring Salem’s character in fic, it’s worth unpacking what she thought Remnant might look like vs. what she actually ended up with — death, cruel gods, a curse she’s maybe incapable of breaking depending on whether the grimm pool left her with the ability to grow and come to understand the (supposed) importance of death...

Basically, there’s a contrast here between the bright-eyed Salem in love with the world of her books and the abusive, monstrous Salem we get later in the series. It’s a change that’s  ripe for some introspective consideration.

In time though, Salem finishes all the books in the castle and, for obvious reasons, still finds herself unsatisfied. “Tomorrow I’ll be sixteen and I’ve never even stepped outside!” It’s in her anger that Salem throws the book she’s just finished and it sails out the window, right through the barrier. Again, not to nitpick the five minute fairy tale, but it really took Salem sixteen years to realize that objects could leave the tower? Honestly, no wonder the heroes are winning so easily. Salem has always been a little slow on the uptake, huh?

Okay, okay, jokes aside, I am serious about this. Wouldn’t it have been better to have kid!Salem throw a temper tantrum and discover this loophole earlier? Give us a childhood and early teenage years of her trying various ways to escape, only to eventually succumb to what she sees as a horrible necessity? Honestly, I have a lot of feelings about this “Salem did nothing for sixteen years and then jumped straight to murder” plot-line. Because to skip ahead just a tad, Salem decides to call on all the nearby knights to kill her father.

Here then, we get to the part of the recap where I feel the need to explain that I’m not trying to victim blame Salem here, but rather I’m commenting on RT’s inability to craft a situation where the extreme nature of Salem’s solution feels justified. Because for me, justification is tied not just to the horrific nature of what she’s trying to escape, but also her duty as a human being. If Salem is going to settle on allowing others to fight this battle on her behalf, under arguably false pretenses, and with all but one of those volunteers dying in the process… I want to be convinced by the story that Salem tried every better option first; that this is indeed the last possible resort. Has she tried to sneak past her father? Get the maid to help her? Fight him herself given that, as said, she’s a very powerful magic wielder who does eventually fight her way out of the castle?

That’s probably my biggest sticking point with this story: what was the point of taking a character already established as individually powerful and having them sit around for someone else to come save them? Especially when they’re a woman who the audience will be reading through a decades-long history of passively written characters. Double especially in a franchise that’s supposedly built around both emphasizing women’s agency and undermining our expectations for fairy tales. Yes, Salem’s story here needs to match up with what we were shown in The Lost Fable (not that RWBY has a good track record of keeping things consistent…) yet that just showcases how badly thought out this was in the larger scheme of the RWBY universe. Who looked at our series’ Big Bad, an unfathomably powerful obstacle living in a world at least somewhat interested in turning fairy tale expectations on their head, someone who, based on the writing of “The Lost Fable” and Ozpin’s established character since Episode One, was always conceived of as having personal power, even before she got tangled up with the Gods…

…and then decided to stick her in a tower to wait around for the knight’s rescue?

Contrary to what some critics might claim—and what many of my own metas might imply—the RWBY characters are not actually cardboard cutouts who exist solely to forward a plot, or even impart some moral message. They’re meant to have personalities, goals, and above all motivation, which makes “The Girl in the Tower” flounder considering this isn’t even a generic side-character, but Salem herself. She’s arguably the character next to Ruby. Yet Salem feels so flat to me here, largely due to that lack of agency and the equal lack of creativity that inevitably lumps her in with every other sanitized fairy tale. Why give us a determined woman pushing the limits of her father’s imprisonment when Salem could just sit there for the whole story? Again, I want to stress that there’s nothing inherently wrong with these character traits in any real-life situation we might equate this to. Yes, I know enough to understand that most abuse victims are going to accommodate their abusers out of a need to keep themselves safe, alongside being conditioned—in this case since childhood—to see this as normal, thereby making Salem’s passiveness at least semi-realistic. I also understand that not every character needs to be a kick-ass taker of what they want (I actually have a great deal of dislike for the Strong Female Character) and that Salem’s love of reading is just as valid a characterization as someone who, I don’t know, encourages the maid to do more on her behalf. We can even make the case that this quiet, bookish Salem makes for a wonderful contrast to the power-hungry threat she’d become, or that she’s perfectly in character given the still unexplained thousand years she spent just sitting around, not going after her goals until the heroes were conveniently in combat school. All of this is true!

But Salem isn’t a real person undergoing real abuse. If we’ve learned anything from RWBY’s handling of Blake’s faunus heritage and Yang’s disability—both of which were dropped after introducing the bare bones of nuance—it’s that RT is very willing to throw respect for those subjects aside in an effort to craft an exciting tale. No one (according to canon implications and a few Word of God comments) wants to watch Yang working through a depression at home, or Ruby grappling with nightmares, or Blake overcoming systemic racism… despite the fact that they chose to introduce those plot-lines in the first place. The show would much prefer to put emphasis on the fun, exciting aspects that RWBY was originally built on. This conflict is obviously a problem, but the flip-side is that Salem’s story is, arguably, one place where RT could have emphasized the Rule of Cool over real world allegories without any issues… and they didn’t. I can obviously only speak for myself, but I don’t need a fairy tale that tries to unpack the complexities of a woman held prisoner, especially when that character will go on to become both a domestic abuser herself, as well as the series’ Big Bad. Outside of a very generalize takeaway of “Abuse is cyclical” that the viewer might come to in their own time, there’s simply too much there to unpack. Don’t even try. However, you know what the story could use? That sort of simplicity used as a springboard for a kickass plot where a woman saves herself from captivity.

As it stands, Salem apparently thought little of her imprisonment for sixteen years, suddenly got mad about it, decided on a manipulative murder scheme as the only solution, and yet continued to stand around while others carried that out. It’s... not a great combination.

She has this light-bulb moment about the book going through the barrier and the next day, when the King visits to gift Salem with all the jewels and clothes befitting a captive princess on her birthday, she asks him for pen and paper (quill and paper? When did the word “pen” come into use?) so that she can write stories of her own. The tone of the conversation is notable in that the King appears rather taken with her request — he asks that Salem read him her stories when she’s finished — but Salem clearly sounds like she’s plotting something. Specifically, she writes a story about herself, folds numerous copies into paper... birds, since airplanes don’t exist yet, and throws them out her window for others to find.

Now, ignoring both that Salem writes this cry for help as a story rather than a first-person note that people would be much more likely to take seriously, and that her little folding technique would only fly a few feet before plummeting to the ground (unless she’s using magic?) here’s my problem with this whole plan:

“Once there was a beautiful maiden locked in a tower by her cruel, lord father. She longed to experience the world outside, but she was his prisoner. If only some brave, strong warrior would defeat the evil lord and free her at last, they would marry, inherit all of the father’s riches, and live happily ever after.”

This is so manipulative. The fandom gives Ozpin shit for not being forthcoming about Salem’s immortality, but at least he never presented the war itself as some sunny quest with a big reward at the end. Here, Salem is leading strangers to their deaths by a) promising them things that, at this point in the story, we don’t know whether she intends to uphold (does she really mean to marry whoever saves her? Sure, she fell for Ozpin, but what if it hadn’t been him? Will she give up her inheritance if she’s no longer marrying the guy she promised it to?) and b) failing to warn anyone that her father is a crazy powerful sorcerer who will obliterate anyone who tries to take his daughter away. “Lord” doesn’t cover any of that! Note how cushy she makes this all sound. I’m beautiful! I’m a maiden! You, person I’ve never laid eyes on, are so brave and strong ;) Come murder my father and we can totally get married, you’ll get all my dad’s shit, and we’ll definitely be happy for ever and ever and ever.

There’s just so much of this that I can’t get behind which, yes, includes Salem wanting to kill her dad. Look, I’m not defending the rat bastard. Locking your kid up in a tower — whether that’s due to seeing her as a possession, or a learned fear that loved ones will perish if not kept perfectly safe, both of which the narrative implies — is really fucked up. Salem deserves her freedom. But it’s also fucked up to do a fantasy equivalent of a Craigslist call for a hit on your dad when, as far as we’ve seen, Salem never tried any other means of escape. She just realized that objects can pass through his barrier — which to me says she hasn’t tried very hard to test the limits of her imprisonment. — and then jumped straight to not only getting someone else to kill the King, but doing so in a way that puts those volunteers in the most dangerous position possible: lusting after her, desiring riches, and having no real idea what they’re about to face.

Namely, this:

How many people did Salem get killed?? Okay, yes, in some respects this is similar to Ozpin’s situation with his students in that regardless of how much information these warriors had to work from, they all ultimately decided for themselves to take the risk. There’s even a line that implies that many of them did it because saving her was the right thing to do, not because they were after the rewards: “the story of the girls’ tragic circumstances spread far and wide.” Salem didn’t put a fantasy gun to their head and force them here. But unlike Ozpin’s rock and hard place problem (you really can’t fight an army of endless grimm without an army of your own), Salem didn’t try anything before her “Let other people die for me” plan. Then when she realizes these guys are dying for her, she looks real upset about it...

...but doesn’t try to put a stop to what she’s started.

That was the tipping point for me. If this was the story of an abused, isolated sixteen-year-old who made an impulsive decision, only to realize with horror the unintended consequences of that and try desperately to fix it... that would be different. But Salem doesn’t seem to care that all these guys are dying for her, not enough to try and stop it, anyway. We know that her notes spread “far and wide,” that “one warrior after another” came, and that “many tried,” but “just as many fell to the lord’s powerful, evil magic.” It’s only “one day” that Ozpin himself showed up, meaning we have this undetermined stretch of time where Salem just watched from her tower as all these knights were obliterated, apparently coming to the conclusion, “Alright, that’s sad and all, but my freedom is totally worth it. What I want trumps others’ lives.”

“Why is this a problem, Clyde?” you might ask. “Salem is the villain. Surely you’ve got nothing against villains doing questionable things, right?” I sure don’t! Rather, the problem here is that Salem wasn’t supposed to be a villain just yet and yes, I know that for a fact due to “The Lost Fable.” This isn’t a case of fans being upset because a backstory didn’t meet their specific preferences or expectations, this is a case of the backstory undermining the emotional core of events that we’ve already seen. Regardless of where you fall on the Salem vs. the Gods debate — how much was she a victim of their cruelty, how much was their curse deserved based on her choices, etc. — we nevertheless start with the story of a victim whose traditional Happy Ending was blown to pieces when the True Love Protagonist (Ozpin) dies. Hell, that debate hinges on agreeing that Salem was a good person and then did questionable things. Yet now, thanks to “The Girl in the Tower,” I’m no longer able to read “The Lost Fable” as a tragic tale of grief taken to an extreme, I’m just like, “Oh, Salem was always a budding sociopath, huh?”

(“Someone is here to murder Dad and whatever staff and guards get in the way! Woohoo! I’ll wait up here until they’ve done the majority of the work. I’ll just kill a few people on my way out. As a treat.”)

Which yeah, is a story. No matter what version of Salem we get, or what else RT might add that changes our reading of her arc, every version possible is always going to resonate with someone. I have no doubt that plenty of fans adore the reveal that Salem was always toying with the manipulation and callous dismissal of others’ lives that would later become staples of her villainy. For me though, it’s just another way that RT has muddied the waters of their abuse themes, reiterating that they don’t know what they’re trying to say about such complex topics and unintentionally ruining what good writing we originally had. Salem was a generic Big Bad. Then she was made sympathetic. Then we debated how much. Then she became Ozpin’s abuser. Then the fandom dismissed that. Then she underwent a journey that twisted her into who she is today. Then we were told that journey isn’t actually important because she was flirting with those horrors from the get-go. She’s the victim. She’s the manipulator. She’s the puppet-master. She’s going to wait around for someone to save her. She doesn’t care how many die in her name, She’s the classic princess walking off into the sunset with her knight... This isn’t character complexity, this is RWBY flip-flopping every other scene until I no longer know what to think of Salem’s character, let alone what messages the story might be trying to impart.

By the end of the episode, Ozpin says that “Stories hold great power over their audiences. The girl in the tower used her power and led many warriors to their deaths,” so I’m like okay, at least the writers are aware of how fucked up that scenario is, but THEN:

“We must read with some skepticism and decide the truth for ourselves.”

Oh, now the fucked-up-ness is suddenly up for debate? What’s the point of acknowledging it then? Besides, Ozpin, you lived this. Salem would have told him the first half of this story long before her fall into the grimm pool, meaning before she became someone who was overtly keeping secrets and/or lying to him. What do he mean we need to “read with some skepticism.” About what? Which part? What truth is Ozpin doubting here? Because from the audience’s perspective, this is the one fairy tale that we know for a fact is not a fairy tale at all. It’s history and sure, even lived history is remembered with bias, but that’s a far cry from the black and white “truth” that the episode seems to be peddling.

RWBY has no idea what it’s trying to say and I will die on that hill.

Meanwhile, I’m watching this animation of a whole line of warriors arriving to face down the King + his army and I’m going, “Damn, if it’s a one vs. many situation regardless, how about Salem give it a go? At least she has magic of her own, unlike these guys with just sword and shield. She could blast her dad the second he opens the door to her room. If you want him dead so badly just kill him yourself!”

But no, Salem waits, which both keeps her in the passive princess position and makes her at least somewhat responsible for these deaths — or at least fairly indifferent towards her hand in setting everything in motion. So what exactly does RT want me to get out of this story? Because my takeaway is that Salem was always a villain in the making, prone to jumping to the most violent solution first and uncaring that others are dying in her stead, despite the fact that she too has the tools — arguably better tools — to secure her own freedom, but we always need to wait for the man heroically open the door, right? (I’m sorry, Ozpin, I love you, you’re just been put into a shitty, archetypal position here.) Again, ignoring the potential, realistic behavior of an abuse victim that simply doesn’t exist within RWBY, the implication is that Salem prefers to be the puppet master literally standing on high as others do her dirty work for her, but she didn’t come into that through the journey we’ve seen throughout the rest of the franchise, it was just always there?

Bad people are innately bad, I guess? God knows we’ve acknowledged RWBY’s messy double-standard when it comes to redemption on this blog. 

After all this, Ozpin’s arrival is barely a blip on my radar. He wins against the King because he has his own “powerful magic,” but then we watch Salem escaping with him, blasting through guards with an orange magic beam equal to his green one. It’s another example of how the visuals in RWBY are meaningless because although they’re animated as identical, we have to assume Ozpin is stronger because otherwise why wouldn’t Salem free herself?

“You have rescued me from this castle,” the girl said.

“You have rescued yourself.”

He and Salem hold hands as they walk off into the woods together, Ozpin saying that Salem will decide where they go since she has yet to see the world. We pull out from the fairy tale and back into Ozpin’s office where he says that, “This fairy tale is unique on Remnant in that the protagonist writes her own story... and her ending.”

Setting aside my continued frustration over Salem’s agency in this — the references to writing stories as a metaphor for carving your own path just aren’t working for me here, not when the story is so unclear about what any of that amounts to in this world. It’s just a bunch of wise-sounding mumbo-jumbo — on a plot level Salem told Ozpin all this first-hand. What he didn’t experience for himself, of course. Salem’s ending is in reference to her turning into a grimm queen hell-bent on destroying everyone in an effort to die.

Or, to put it another way, Salem’s ending is being willing to sacrifice whoever is necessary to get what she personally wants.

Except that’s no longer a trait instilled in her from the grimm pool, or developed over years of torturous immortality thanks to the Gods’ actions, (did she really write her own ending, or was that forced on her by two all-powerful beings?), or even something Salem embraced sometime during the start of the series. It is, apparently, a perspective she’s been willing to entertain since she was sixteen-years-old while being almost entirely untouched by the world outside. It’s who she is.

So Salem didn’t write her story, her story was already written within her from the get-go. For a franchise supposedly about choice, RWBY keeps pushing predeterminism a lot.

Ozpin finally ends with, “Because in real life... there is no happily ever after” and I likewise end this recap with a (mental) scream of rage because Ozpin would never say that. Literally! I can prove it! Here’s the original ending:

“If you look far enough ahead, even a story with a happy ending may reveal itself a tragedy, and heroes may turn out to be villains. Hopefully, the reverse is also true.”

That’s WAY more optimistic. Yeah, the guy who has been through hell and back would be grappling with how the Happy Ending isn’t all it’s cracked up to be (something introduced at the very beginning of the series via Ruby and Blake’s conversation), but Ozpin also has enough faith to realize — and teach — that things can always circle back around. It’s always darkest before the dawn and all that. Who is this super pessimistic guy who writes off happiness as a whole? That’s not Ozpin. Ozpin has been fighting for over a thousand years, buoyed by his belief that people are inherently good and a better future is always achievable. Ozpin thinks back on the horrors he’s experienced, all the terrible mistakes he’s made, and still manages to muster up a smile for his students. Ozpin was betrayed, dragged through his trauma, assaulted, dismissed, and still arrived to save his friends because he cares, even when no one else does. Miss me with this shadowed, nihilist wannabe ending on a sour note. To me, that line alone is proof that there’s little thought going into these shorts... which is a damn shame considering that Myers’ book already did it better.

Yeah, this recap took me forever and that’s largely due to the hard-to-explain problems throughout: frustrating enough to warrant inclusion, but messy enough that they’re not easily picked apart. Hopefully most of this made sense and if not? I can still happily hang this recap on the meta wall and never look at it again. Cheers to that🥂

***

Lucifer_Crowe. “We are E.C. Myers, Eddy Rivas, and Kerry Shawcross...” Reddit, 15 Dec. 2021. https://www.reddit.com/r/RWBY/comments/rh2c8w/we_are_e_c_myers_eddy_rivas_and_kerry_shawcross/hoowvzv/?context=3.

[luimagines]

Coul I request the chain reacting to meeting the reader who is Wild's sibling? (If background is needed shrieks science and them whatever purchase did so the reader is just sorta- 15-28 )

Masterlist

I don't understand the second sentence but I think I can infer what you're trying to say. And even then, I came up with a backstory that more less fixes it regardless so yay!

Wild is everyone's favorite chaotic creative sibling!

And I went for older sibling because reasons and just assume that sibling! Reader is in their early twenties.

Content under the cut!

You woke up one day in Hateno village, quietly aware of the silence that echoed through your house.

You miss your brother.

Not that he was here often with his Goddess given assignment nor did he even know who you were for the first half of it.

What a day that was.

Your little brother back from the dead, scars and all and then some... but he had no idea who you were.

It hurt to say the least. But you were told it would happen once the news reached you. He would wake up one day to finish his duty but he would not remember anything regarding his past life.

Even when he found you again, after he somehow remembered you, you didn’t know where to begin.

You just knew that you were so happy to be together again after so long that you hugged him as tight as you could and told him that your door was always open.

To say you both cried is the understatement of the century. It was wet and ugly and messy and neither of you really talk about it but it felt good that day.

And while you both knew he couldn’t stay for long with his adventure being no where near complete. He did come home for the night after he set that travel medallion of his by the front door.

But that was then- before the Calamity was defeated.

Now that it’s gone- so is your brother. Again.

On a different quest this time, it seems.

You don’t understand why your baby brother of all people has to be the one to do it and you would like nothing more than to wrap him up in a blanket and shield him from anything else that comes to hurt him- but he never let you do that as a child- let alone now.

You begin the day like any other and try to get as many mundane chores done as you can before you finally try and get the stable in the back fixed up.

You noticed Link had an affinity to horses and had checked in with the nearest stable to see that he had some lodged under his name.

There’s a place at the house, darn it. Lodge them here. It just needs to be fixed.

With your goal in mind, you lose yourself to the work and the time passes effortlessly.

It’s around noon by the time you hear it.

The familiar sound of activation that gets your heart pounding in relief and unbridled joy.

You drop your hammer and run to the front of the house with the largest grin on your face. “You’re back, you Rug Rat! Come here!”

You single him out instantly amongst the group and tackle him in a hug.

He’s long stopped trying to fight on you on this and has also returned your crushing hug with one of his own. “I’m back.”

“You brought friends too.” You grin and give the group a two fingered salute. “And here I was afraid that this loner child would end up dead in a ditch somewhere and I would be none the wiser. Thank you for looking after my little brother. I’m aware he’s a handful.”

“Ok thanks.” He says.

“Little brother?” Someone from the group asks. They’re lost amongst the sea of head but you nod regardless.

“Yup. I remember the day he was born like it was yesterday.” You grin and put your hands on your hips, introducing yourself right after. “Any friend of Link’s is a friend of the family. Come in, come in. Make yourselves at home. It’s not much but it’s ours. Been in the family since before the calamity struck. Let me wash up a bit and then we can get some food going, yeah?”

“I’ll start up the stove.” Link says and you’re about to disagree. After all, he just got home and should rest while he can but he ahs the most unburdened smile on his face that you can’t bring yourself to deny him.

 “Alright.” You sigh and head to the back where the shower is. It’s always been small and a bit cramped and the door stopped fitting correctly about ten years ago but now that’s it’s not just you anymore, you can go around into the giving the house the TLC it deserves.

But you’re starting with the stable in the back.

When you’re finished and you’ve dried yourself off, you get into the house to find it in a delightful array of colors and chaos.

Each of the boys seemed to have made themselves completely at home in the time you were gone and you leaned against the door frame, watching them all interreact.

Your brother didn’t waste any time with getting the stove up and running. You can smell the beginning of lunch getting cooked and it appears that Link has wrangled two of the boys to be his helpers. One appears to be the youngest with bright wide eyes and a similar blue tunic to that of Links and the other looks to be  slightly more timid in the process. He’s around the same height as Link but darker hair and a long white cape still clasped around his shoulders. 

You recognize the Master Sword strapped to his back.

Making a note of that you look around the room again. Three of them have made themselves comfortable at the table. One is easily the biggest guy of the group, red and blue tattoos on his face and scar over his eye as he watches the others go about the admittedly small house. The other two look to be the same size and you’re sure you can look them in the eye if you needed to. They’re talking to both each other and the group that’s cooking. One has a wolf pelt on his shoulder with more tattoos on his face and other is a knight if you’ve ever seen one with a bright blue scarf around his neck.

You’re not one to judge your brother’s friends but you make a mental note to watch him in case he tries anything.

Two of the boys- one with pink hair and the other have the most solid brown mane of the whole group have made themselves spares and are talking quietly to each other and not making a fuss.

The final one looks to be the smallest but he’s got an older glint to his eye that recognize well. He’s wearing arguably the most color tunic of the group with those four patches sewn together. He’s tucked himself away into a corner with a book out, not interacting with either of them outright but he has been looking up and adding his two cents to the older’s conversation at the table.

They don’t notice you’re back which is a testament to how tired they all must be.

They’re an interesting bunch.

But Link did always surround himself with interesting people.

So you’re not really surprised.

“Sooo...” Pinky starts off, calling your bother’s attention. “You have an older sibling?”

“Yup!” He answers, not looking up from the pot. “They were waiting for me the whole time, and even manage to keep the house. Up keep still needs to be done but we’ve been working on it together.”

“But they’re older.”

“Yes. We’ve established this.”

You have to hold back your snort.

“You were asleep for one hundred years.” Four Patches speaks up, closing his book silently. ”Shouldn’t they... ummm...”

“Be dead?”

“Or at least really old?” Mr. Brunette hops in, trying to lessen the blow of the sentence.

“You’re like one hundred and seven teen right? Wouldn’t that put them at being one hundred and twenty something?” Wolf boy offers.

“I guess so. Yeah. They were old at some point.” Link stops stirring and you can see him try to run the numbers in his head. “I know that much. The village talks about them being really old sometimes, but I guess that was years ago because it’s only from the older folk that live here.”

“But they lived through those one hundred years, didn’t they?” Blue Baby Face speaks this time.

“That’s what they told me.”

“So....” The knight tilts his head and tries to put his hands out as if that would help answer the question. “They’re like the Old Man then? Old in their head but young on the outside.”

“You can say that, yeah.” You say and take extreme satisfaction at the way most of the jump at your voice. “Unlike Link, I was alive the whole time he was asleep. I’ve got grandkids in Lurelin and they visit from time to time but someone had to at least keep the house up and running, might as well have been me.”

“I...” Link starts as he takes the food off the burner. “I never asked you how you stayed young, did I?”

“Nope.”

“Oh.” He looks away and deflates a little. Link looks a little disappointed with himself and that won’t stand in this house.

“I didn’t realize it was that important. And I’m going to assume you’ve explained most of the situation Rug Rat.” You laugh a little with a raised eyebrow. “You can blame Purah. You know she wanted to find a way to keep the old from aging, right? It’s why she’s in the body of a little kid again. But when she tried the second formula she realized that if she tried it on herself that it might as well but poof her back into a baby and she wanted to contact Robbie but he’s too far and too old to make that trip. I volunteered.”

“Really?”

“It still didn’t really work, I was transformed into a teenager instead of a child- a horrible time to exist really. But I suppose it was a blessing in disguise. By the time this one-” You step into the house fully and ruffle Link’s hair. “-came back, it left us with the same age gap as before. So in the end I can’t complain.”

“Why’d you volunteer?” Cape guy leans on the wall. “There’s only so many times you can test it, right? Who’s to say it wouldn’t have been worse?”

“Yeah, what if it did transform you into a baby again and you forgot everything?” Four Patches stands up and comes to stand by the table, putting his book on top of it. 

“I wanted to take the risk.” you shrug and pull your brother into a hug. “Is it a crime to want to see my baby brother again not matter the cost?”

“Get off.” He whines.

You laugh but do as he asks. “It was never said when he’d be back. Only that he would. I was willing to buy as much time as needed to be there for him.”

“I didn’t remember you...” He mutters to himself.

“You now, don’t you?” You punch him gently. “We’ve talked about this. It’s ok. I knew it was going to happen. It wasn’t going to stop me. Ganon himself couldn’t properly get rid of me. I’m not leaving your side anytime soon.”

He smiles and turns to hug you.

“Now where’s your wolf friend?” You ask. “Are you still traveling together? There’s something I wanted to give him.”

Wolf Pelt shimmies in his seat for a second but you don’t think much of it.

Link shakes his head. “Not right now but he has been coming by every now and then.”

“Well it’s good he’s still around to look after you then in my stead.”

“We have a horse though.” Link tilts his head up to grin at you. “It’s not the same but her name is Epona.”

Familiarity stabs you in the heart and you know it’s something that Link even remember even if he lives another one hundred years.

He was too little when she passed.

“...Like dad’s old horse. Can I see her?” You say with a light constriction in your throat. “How crazy would it be if they looked alike?”

“Dad had a horse?”

“You wouldn’t remember her, you were too little. I barely remember her as it is but yes, he did.” You take a step back and motion back towards the door. “Maybe after lunch you show me. We can bring her to the back and measure up how the stable is. I’ve been fixing it up.”

“Really!?” Link blinks, an excited glint appearing in his eyes.

“Yes. That’s what I was doing when you first came in. But let’s eat first.” You put your hand to the small of his back and push him gently in the direction of the table. “And then you can tell me about your friends and this new adventure of yours.”

[tumblingxelian]

There's something to be said about Ghira (and to an extent, Kali) Belladonna's relatively understated character arc, when you factor in the Adam short.

When he first started things off, it was clear that, as well intended and as necessary as it was at first, that his pacifism was clearly becoming more of a hindrance than a help, especially when the White Fang was up against enemies who were willing to explicitly exterminate the Faunus, something that was rightfully (if not explicitly) implied with the transition from him to Sienna Khan.

At the same time however, it's clear that Ghira isn't lacking in perceptiveness, since he was willing to step down peacefully and allow the White Fang to transition to Sienna Khan, since it was clear that the White Fang needed a more suitable leader. This perceptiveness also arguably applies when it comes to Adam Taurus. Given that Adam was the one who started pushing Faunus towards using Grimm-styled masks, I wouldn't be surprised if, while partially motivated by his more peaceful aims, Ghira was frankly starting to get an uneasy feeling from the man, even if he didn't have the hard evidence to prove it.

At the same time however, even though he and Kali would end up on sour terms with Blake after she accused them of cowardice and left with the more radicalized White Fang, it would have been easy for him to stubbornly stick to the pacifism that caused him to lose his leadership in the first place. Yet, while not given much focus on, by Volume 5, he had clearly made some effort to change in a subtle fashion. He was far more willing to accept the idea of using violence in order to stop a rogue faction of the White Fang, and his ability to fight being portrayed during the assassination strikes me as something that he likely wouldn't have been as willing to do in the past.

I do think Blake being negatively influenced by Adam probably played a part in it, since much like how Blake felt awful after realizing how terrible Adam was and influenced her to believe her family was a bunch of cowards, Ghira probably took his daughter's words and behavior as a sign that, as well intended as his pacifism might have been, his inability to truly fight for social justice because of stubbornly sticking to pacifism nearly cost him his daughter to a dangerous demagogue, something he and Kali might have been able to avert if they had been more willing to accept that violence was a necessity to fight for their rights.

Mind you, this isn't to say that Sienna made things worse or anything like that, because it was pretty evident that, as much as they might have clashed on their ideals, they did respect each other. (How else would Ghira still be a respected leader of his people after all?) It's just that Sienna strikes me as someone like Blake, who did firmly believe that Adam was fighting for the same values as she and Ghira did (Faunus Rights), and I think her conversations with Adam show that she genuinely didn't realize the red flags coming off of him because it likely didn't occur to her that he didn't give a shit about Faunus rights, and because he was hiding his true nature until his bloodlust and ego got the better of him.

This is a solid post to be sure and I think it outlines things very smoothly and generally makes a lot of sense character wise so kudos there. 

I do definitely get some people’s critique that we’ve only seen Ghira willing to use violence against other Faunus. But that strikes me as more of a circumstances of the plot than anything else. 

But I digress, as we did see him acknowledge his respect for Sienna and acknowledging the flaws in his own leadership. Sadly we get less from Kali but it is what it is. 

Also yeah, one thing to always remember about Adam from the Adam Short is he worked hard to hide his true self from Sienna. 

He led the robbery alone. 

He stopped himself from killing that SDC guard when Sienna looked to him. 

He proclaimed his love for the Faunus and only smirked evily when Sienna wasn’t looking. 

This are all big signs Adam was both malevolent but also obscuring it from Sienna so she’d think he was loyal to the cause. 

[malaierba]

Actually, I'll say it

Isn't it soooo weird that someone would argue for one dimensional Lilith being a basic bad antagonist with seemingly not deeper motivations, in a fandom circle where a male character was literally introduced and consistently behaved for 95% of his screen time as a Basic Bad Guy with no deeper motivations besides "killing sinners is entertaining", and where the good iconic fan creations focus on giving him depth and layers?

Like, what are we clinging on to justify making Adam more complex? The fact that he acts subdued around Sera, the way he seeks reassurance from her in the court hearing ("right, Sera?"), the reveal of his face and his he was Just A Guy with eye bags underneath his cartoonist mask, the way he smiles at Lute before dying.

Whilst Lilith. I don't understand how more people don't see the potential in her character. Imagine being created and being told "this is what you're alive for". And saying yeah, no, I don't think I'll do that. The absolute balls of trying to pull a fast one on being that could turn you back to dust. The horror of being cast to a place you don't know, like, Lilith probably died when she fell, she was the first death and the first sinner, she's seen the worst of humanity from the start and still she stood by these discarded souls?

What do we know about Lilith that's relatively objective? And I AM taking into account that Charlie's storybook is probably thinly veiled propaganda lol.

Besides Eden, which is the story where I think EVERYONE is an unreliable narrator, Charlie remembers her mother in life. She says she thrived as a ruler, she used her gift to bring hope to sinners; Where Lucifer checked out, she rose to the occasion.

So you want to make Lilith "bad". What does that even mean in the context of an universe where no one even knows why souls go to heaven/hell, where lack of mercy is justified if it maintains the status quo, and where arguably the first souls to get punished were punished because they failed to follow orders (Lucifer, Lilith, man even Vaggie).

And so you want her to be an antagonist. An antagonist to whom? Her daughter? Truly, idk why everyone's first assumption was that Lilith abandoned Charlie. Gringo ass website. Not to be a third wordler in my meta but if I lived in a place that's under constant threat of being subjugated by overpowered military forces, where a General has more political power than the so-called Royalty of Hell, and my mother (not only part of said royalty but also arguably the one royal who acted as a leader and actually paid attention to what was going on) suddenly disappeared and couldn't be contacted I THINK I'D FEAR SOMETHING WORSE THAN "MAYBE SHE WENT OUT FOR CIGARETTES"?

How is anyone not seeing that Lilith being in Heaven is probably not her deciding that okay, maybe she WILL abandon her position of power for a chance to chill in a beach. Isn't it more interesting if she's in a jail of gold? Oh right we don't care about making the woman interesting, my bad.

So I ask again, in the context of the show, who is she antagonising? Adam is dead. For her to be in heaven, if he had anything to do with that at all, was probably because HE wanted her out of the scene, getting in the way of Heaven's agenda for hell. If she's opposing God/Heaven (most likely scenario), then she's by definition not an antagonist. She MAY clash with Charlie over end goal, I personally don't think she cares much for redemption since fuck Heaven's rules, but even then they'd be more allies than anything else.

It isn't even hard to make her interesting even if you do want to use her to portray a less sympathetic opposition to heaven. Behold my epic take on ✨ how to make Lilith an interesting source of conflict within the story ✨:

You're Lilith, first woman. God created you and within a minute of being alive, the confusion that comes along with it, he tells you your purpose. You don't even know who you are, let alone what you want, and they're already pushing a task you don't even quite understand onto you. You resist, but every time you push back the more powerful beings around you try harder to shove you back in a box.

You're the first woman and there's a God you've never seen whose actions keep telling you a single thing: "you'll either be as much as I tell you to be, or you won't be at all". He's not taking you seriously at all. Now you want him to pay for underestimating you.

There's an angel that's God's favourite. He's God's favourite, but he's sympathetic to your position. You slowly realise you could make him more loyal to your plight than to God's mandates, and wouldn't that be an interesting thing for "just a woman" to accomplish?

You steal God's favourite from him.

He happily lets you steal him, actually.

The both of you quickly realise how fickle God's favouritism is the moment you're vanished from Eden and oh, now you've really got a reason to be petty.

When you learn that God attempted to replace you with another woman, one crafted in such a way that even if she felt distaste for the role God was pushing her into, she'd at least be partial to wanting to take her mate's side, you already know that messing with his plans once again will sting hard this prideful being.

So you grab your Angel, you seek that perfect woman, you open her eyes and taint that perfection. You weren't thinking about Him at all, but you won't pretend not feeling a bit triumphant when the guy who was created alongside you yet was perfectly happy following the blueprint that was laid out for him, is faced with reach and impact of your convictions. An all knowing God and a perfect plan, easily derailed by a woman. If had had the time, you would've told Adam "still sure Heaven knows best?".

You felt self-righteous and vindictive, and the punishment befalls everyone swiftly and mercilessly. And briefly, you do feel regret; harshly, you're reminded of his easily these beings can overpower you.

Millennia must pass in which you're faced with only what heaven deems the failures of humanity, before you decide that, actually? This is bullshit. You can't see the point to humanity, let alone to judging human's performance over a fraction of their eternal lives before sending them one way or the other, and even if IF you knew why God bothered at all, you still believe that his vision lost priority the moment a human soul was born with free will in a world with so many moving parts.

Whatever this is (game, experiment) is pointless, is sick. And you decide that you WILL continue to mess up God's fun.

Anyways, woman is underestimated, she does exactly the opposite of what God was in retaliation and the impact of her actions always reaches further than any heavenly being ever expects. There, now you have a character with depth that can still be a source of whatever friction and conflict your heart desires with pretty much everyone in the cast.

I was going to finish this rant here but man, the thing is, THE THING IS that making a character complex never takes away from a story unless you, for whatever reason, decided that you don't want to find them sympathetic let alone admit that MAYBE they were a little bit justified in whatever they did.

Lilith finding companionship in Lucifer (even if you decide to write that the romantic attraction fizzled out which, okay why not, I can be into it, you can be life partners or even partners in crime without romantic love being involved, work. Kind of hate writing that though because I'm being very anti-amatonormativity when I say it, but IF fandom gives the concept a shot it'll be for shipping reasons smh), Lilith still being disappointed and disillusioned in him for only ever seeing his position as King of Hell as a punishment;

Lilith having had Charlie to taunt Heaven, like, how did a sinner have a child? Wasn't it impossible? But still being a mother to Charlie, still wanting her to see things her way (Oop, look, meta narrative irony), still having that tumultuous mother-daughter bond where love and frustration are commonplace.

Lilith having a complex relation with Eve, because although both were punished they were affected by their lives very differently, and yes maybe Eve never fully forgave Lilith nor Lucifer for tricking her, but after millennia maybe she does agree that heaven and especially orthodox and inflexible views on "how to be a proper human" are absurd in a reality where no one even knows how they're grading human lifes (and isn't that revolting? That a life would amount to be a performance), and really heaven is just too divine and predictable to really understand what the human experience is like.

Lilith always being a bit disappointed and frustrated in Adam and how he managed to react to every single thing that happened to them in the exact opposite way she did, like they're two sides of a coin doomed to never see eye to eye, and isn't it frustrating from the only soul in the world that's ever been through the same defining events that she did? Think about it. They knew each other for essentially five minutes, millennia ago. He wanted to do things right and she never let him. She never understood why he'd want to "do things right" (whatever that meant) at all. She sees him again after an eternity and the guy has become Heaven's useful fool, in a position he's very much not qualified for, but she sees the message that Heaven is sending by letting the father of humanity be the one to cull the herd, does he not see it? Does he not care? And the insane thing is that the weird fixation they probably have with each other probably goes both ways, because why else would Adam have agreed to make a deal with her and even let Lute in on it?

ALL of that makes her a more compelling character. It doesn't take away from the story, it actually makes it make more sense. But as I said, you'd only have an issue with it if you had hangups with empathising with her in the first place.

So okay, Big Bad Lillith concept everyone wants, okay, maybe she wants to pull a Joker and let the afterlife fall into anarchy. I'm just spit balling at this point, I think that's more what Roo's character room be about anyway. Well, work queen. Let's make her a foil to Roo, where Lillith wants to tear down Heaven's stupid system, but there's interpersonal tension because she has ^^^ all those characters who'd be affected by her actions, as opposed to Roo who can be just the concept of Chaos personalised and born from God pulling apart and gaining personhood and trying to contain her or something. Maybe her actions will have consequences™. Maybe they'll hurt her more when they affect the people she knows than when they affect her personally.

You can't tell me it wouldn't be more interesting to see those consequences when you can empathise with the character, than when they're a caricature and you're just waiting for there to be narrative justice.

I mean, come on, don't be boring.

Wow horrid takes on my dashboard

[highlifeboat]

i can see melon forgiving max and dani first. but how does the fiasco with mia and cass resolve itself?

Yeah, she forgives Max and Daniela first, mostly because they're not the main source of the problem (and they're pretty good with respective the whole "Leave me alone" thing). Like, yes Daniela pulled the same shit Cassandra and Mia did but her whole thing was directed at Max, not her. And it isn't like Daniela started it.

With Cassandra and Mia it takes Melony a little more time before she stops being upset with them. Like they finally leave her alone so she can think everything over and vent out her frustrations on a bunch of pillows by herself, and it takes a little more than a day or two before she wants to talk it out. She doesn't necessarily avoid them during this time but when they do see her it's clear she still mad. I think there's also a little bit of questioning on Melony's side if she should even really BE mad at them in the first place. That remains up in the air for her. (They're always really nice to her after all, and never did anything to hurt her really, but on the other hand... It's kind of insulting that they treat her like a kid all the time, and that they've been trying to make decisions for her)

In the end she knows she can't just... leave it. It'll make things too awkward, especially with Cass, and nothing will change if she does. So she kind of has to hype herself up to talk to them. Because at this point she's less pissed at everyone and more just... apathetic and maybe anxious about talking to them.

I think she talks to Cassandra about it first, because she feels better talking to them one on one rather than both at once just in case they DO get mad. Cass is mostly just happy that Mel is talking to her again and tries to immediately start apologizing, which Mel has to shut down because she REALLY just wants Cass to listen. She gives Cass this long winded explanation that can sort of be summed up with "What you did made me feel like you don't see me as a person who can make choices for themself. And that hurts." which makes Cass feel awful because that wasn't at all her intention. She legitimately thought she was doing the right thing (though looking back on it she sees why it was a bad call).

Melony also talks to her about the whole "Please don't infantize me all the time" thing. Which also makes Cass feel bad. But she apologizes and makes a promise she's gonna do better. They share a hug, and maybe a lil kiss, and make up a little.

Talking with Mia is arguably scarier for Melony, and she isn't totally sure why. Maybe because Mia is more of an authority figure to her than Cassandra is, and she doesn't have a great track record with those. Regardless, she knows she has to talk to her.

It goes very similarly to the talk with Cassandra, with Melony explaining why she got upset in the first place and how Mia stepping in and agreeing with Cass' call actually hurt a lot. And maybe it turns into a bit of Melony just venting a tad about never really having choice, and now that she DOES have it that whole thing made it feel like they were taking it away from her again.

Much like Cassandra, Mia feels awful, especially if we assume Melony has mentioned stuff to Mia about her mom being an absolute control freak over what Mel did with her life. She should have realized and told Cass to back off, but she didn't. She just made it worse. Of course she apologizes profusely and makes a bunch of promises to never do it again and make it up to her. They also share a nice hug.

It's not completely smoothed over, Mel's now wary about being "Too childish" around them because she wants to be seen as an adult, and a little bit of trust is gone for now, but it's a start.

[redwinterroses]

I’m doing my very best not to format this as a literary analysis paper but that’s basically what this is so forgive me if I slip back into those old habits at all. And I'm going to tag @betweenlands and @fluffy-papaya in this because guys look what your fic made me brainrot. XD

(This is a long one, y'all. We're talking 2k words. Sorry.)

That said:

Hey, let’s talk about the bead curtain in Dog at the Door.

That dang bead curtain, and why I’m currently fixating on it, and how I think it has symbolism that may or may not be intentional.

(At this point, I’m assuming it’s intentional. Everything about this fic is intentional. Including the pain. Heh. “The only difference between a running gag and a recurring theme is how seriously you take it,” says Solar. Cool. I’m taking it seriously.)

The curtain first shows up in chapter one. It’s one of the first things we see in the van, and the first thing we know about it is that Doc finds it obnoxious. Ugly. Revolting. Renbob loves it, obviously, but Renbob has odd tastes. Doc, on the other hand, literally uses his hatred of the curtain to motivate him to get out of bed in the morning.

The Red King, when he shows up, also has similar dislike of the thing, but his reaction is a little more measured, a little less extreme. More distaste, less disgust. He finds it “distasteful” and compares it to wearing a labcoat without a shirt (lol). But he doesn’t loath it like Doc does, and when Doc suggests (in chapter 13) that they take it down and use it for friendship bracelets, he’s as displeased with that idea as Renbob is. He has an ambivalent opinion, overall.

And then Ren. Ren actually reacts the least to the curtain—but ends up with the most dramatic interaction with it, which we’ll come back to in a second. He simply says (chapter 24) that normally he’d find the beads hideous, but that the light of Doc’s eye reflecting off it into the shadows makes it oddly peaceful.

There’s exactly one other use of the word “curtain” in this fic, and it’s this line right here:

“I haven’t done anything but possess him and lead his soul back to the controls.” RK throws his hands up in the air. “He’s put himself behind the curtain because he thinks I’m out to get him. My only crime is the original contract I made with him, doctor.”

In this instance, RK is talking about their “imperfect metaphor” of Ren being behind the curtain that separates the “driver’s seat” from the rest of the van that is Ren’s mind/soul. He’s saying that Ren has deliberately put himself in a position of defeat and surrender because he (Ren) doesn’t think there are any other options.

M’kay. Right about now, any sane person is going, “Red. Why are you so fixated on this bead curtain. It’s a running joke at best.”

And... I mean, sure. Kinda. But also definitely not.

This is the part where I really step out on a potentially-shaky limb with all the confidence in the world, because here’s what I'm seeing: the dividing line between life and death is often portrayed in literature as a curtain.

(And it’s interesting to note that the curtain is a barrier, a separation, but it’s only a curtain, and this one is made of beads at that. It’s a flimsy and fluid barrier, easy to pass through. Back and forth. Surrender and control, life and death.)

In fact, even in this fic it’s used that way: RK may be referring to the metaphorical bead curtain in their van of an explanation for how his and Ren’s relationship works, but in the story at that point Ren is convinced that he’s dead. Or is supposed to be dead. And by putting himself “behind the curtain,” he’s surrendering to that. Almost insisting on it, because that’s the truth of how he sees the world right then and he can’t process any other possibilities. He’s basically saying “I’m supposed to be dead, and this side of the curtain is death, so that’s where I’ll stay.”

So if the curtain in the metaphor represents the two sides of that, it’s really interesting to look at the various characters’ reactions to the literal bead curtain and see how it reflects their attitudes toward death—and specifically Ren’s death.

Renbob is... chill. He has an entirely comfortable relationship with the bead curtain, with life and death, with his own emotions—even with dealing with the emotions of the others he’s chauffeuring across the universe. While he isn’t immune to the grief of losing (or thinking he’s lost) Ren, he deals with it in a relatively healthy way—at least as much as we see. I think there was a possibly-canon ask at some point that said he was journaling and meditating so... yeah. Renbob’s got this. And 50 other bead curtains in storage. He’s the only character in the fic who passes in and out of the curtain regularly and without it being a big deal.

To put it simply: Renbob is on good terms with whatever happens in life, up to and including the end of it. (Renbob is arguably the equal and opposite of Grimdog. Two sides of the same coin in more ways than one.)

Contrast that now with Doc. Doc is... not a fan of the bead curtain. It represents a loss of control to him, (“freakin’ hippies”) and a separation from what he loves. In the past, he and Ren were on opposite sides of that conflict, and the beads still somewhat represent that tension (though in a mostly nostalgic, and not actively-antagonistic way.) But the language Doc’s narration uses to describe the beads is strong. “Obnoxious.” “Accursed.” “Horrendously evil.”

Nearly as scary as his best friend trying to kill him.

It’s played for laughs, obviously, and it is funny. But if we project the symbolism of “the curtain represents death” onto Doc’s reactions, it gets a bit less amusing. And it really fits with Doc’s attitude toward Ren’s death in the whole fic. It’s the worst thing he’s ever faced—to the extent that until RK’s seemingly-permanent presence forces him to, Doc doesn’t even try to process it. He goes right to work on the prosthetics, growls at anyone who tries to make him do anything he doesn't want to do, accepts RK as “New Ren,” and pretends that he’s going on with life.

He refuses to look at how weird the whole situation is, because if he does that he has to deal with Ren being gone forever. He ignores the thing that’s right under his nose and pretends it’s not there until a moment of quiet or actually having to interact with it brings it back to his attention, and then his reaction is vitriolic.

Doc hates that curtain, and he hates the concept of death, the concept of losing control. Even in his nightmares, he holds tight to what little control he can take, even if it’s just taking the initiative to sit in the snow and let it kill him faster. Hold onto that thought, because I’ve got more to it, but we have to talk about RK and Ren first.

RK holds both distaste and acceptance of the curtain. He doesn’t like it, but he doesn’t want it destroyed either. The distaste, notably, is when he’s with Doc, and the acceptance comes from being around Renbob. The Red King, as a blood god, is not exactly unfamiliar with death. It’s literally in his job description, but that doesn’t mean he has to like it. A necessary evil, if you will.

It doesn’t hurt either that, at least up until Ren, RK has always been the one on the other side of the curtain, completely in control of the situation. He goes back and forth on his attitudes, but in the past he has been the one in control and the bringer of death. His reaction is negative, but not emphatic—the way someone who has plenty of indoor plans might react to a rainstorm.

Ren... now, Ren. Ren has, like I said, the least recorded reaction to the actual, physical bead curtain. But. But. While he normally would call it hideous, “there’s something oddly peaceful about watching light fractals spin off the walls, cutting off into the shadows.” The shadows, it’s worth noticing, are specifically implied to be RK/hiding RK in this moment. Doc’s light and RK’s shadows interacting with the curtain bring peace to Ren. He passes through it easily to find Renbob.

Ren has already accepted his death—he accepted it long before the fic even started—to an extent that he’s actively insisting on it for a large portion of the story. It’s only when he realizes that Doc is in potential danger that he starts fighting RK for control of the situation again. (“Stay away from Doc, you bastard. He wasn’t part of our bargain. Leave him alone.”)

He dislikes the bead curtain, but he doesn’t hate it, and when seen in the (literal) light of Doc’s protective, watching eye—even if he is asleep at the moment, bless—even the shadows of RK’s presence are suddenly beautiful and peaceful to him in a way that, without the “reflecting fractals” of the beads, wouldn’t be possible. Again: this is the chapter where Renbob’s influence is felt, and his peace with life and death directly affects Ren and his reactions. (“It’ll all sort itself out, eventually, and I’ll be here for you while it does.”)

And then...

And then Ren rips down the curtain altogether.

The separation is gone. For better or for worse, that divide between control and surrender, between RK and Ren, between life and death... it’s gone. It’s scattered across the floor of the van, glittering in Ren’s hair, and in the carpet. Ren has broken through that barrier, and now we just have to wait to see what the consequences of that are for him.

But... we can already see at least one consequence for Doc. Because now there is no more illusion of control and surrender for him to maintain. That division is no longer there, and we see Doc’s first real surrender in the whole story. Even in his nightmares, he was still in control: he knew it was a nightmare, and he fought against it until he “gave up”—in a way that still put him in control. He chooses to sit in the snow so it’ll kill dream-him faster.

He acts like he doesn’t care, but it’s still not that: he takes control in the only way he knows, aware that everything is only a dream and no matter what how it treats him, he’ll still wake up in the end. He looks at the nightmare and says basically “Do your worst, I dare you, but you won’t get what you want from me.”

But now—now he surrenders to Ren. He gives up. His core truth (“I’ll do anything to protect those I love,” which I talked about in this post) looks like it’s not going to be enough to save them. He can’t save Ren—from RK or from Ren himself—and that means he’s lost in the worst way possible. In this moment, it looks like Ren doesn’t even trust that Doc’s core truth—that he will do anything to save his friends—is true.

This is Doc’s lowest point: that Ren seems to think Doc’s loyalty and love have failed. And to Doc... that’s a fate worse than death.

So he gives up. He tells Ren to kill him, and he fully expects him to do so. Doc doesn’t want to die, but at this point he has completely let go of any control of his own fate. Even when facing down Ren with the Skizz blade, he held tightly to his control of the situation. He literally takes the sword in his own hand and removes it as a threat. But now—now the curtain is gone. The illusion of control is gone.

Ren is the one in control of the situation—for possibly the first time in the fic—and he chooses to remember that Doc is his friend, that he’s missed him. But Doc leaves it all to him. Even when Ren backs off, Doc stays in that surrendered state (“I can’t do anything right, unlike [Martyn.]”). He realizes that he's been in the passenger seat the whole time, and he’s now where Ren was before: no longer even trying to take back the driver’s seat.

The curtain is gone. Now we just have to wait and see who ends up on which side of it at the end.

[missnight0wl]

I don't know what is up with the dads in this game, they simply scream "human cases" from every corner and at this point I'm seriously asking why they are stalking minors instead of seeing a good therapist or better, being locked in Azkaban.

Relatives are a problem here? They have communication issues?

I partially joke but the major events of the last years happened for a good 30% because Jacob is very elusive, I talked about the daddies cause we may see Ethan and Peregrine competing over the golden medal for worse parent of the year 2022, Verruca & friends methodologies on relating with nieces ecc are also pretty arguable. Counting that the package has inside also Jacob, Tulip parents, Barnaby parents ecc.

Different situations but it's sad to see that everyone is actually growing on their own almost all alone. You can't really tell if it's normal or if HPHM lacks of someone wise and grow-up.

It depends on the person? It's another reality? We don't know the entire scenario so it's too soon to judge? MC grew up too fast? It will impact they way they'll presumably treat their child if they'll ever ending up having it?

Who knows 😶.

I just wanted to ask your opinion about it, because I personally find really depressing the fact that exactly Peregrine is involved, bringing life to a theory that is old as time (they mentioned him in y.5 chapter 11 in a lesson about crups the chapter may be wrong, but I remember MC saying a thing like "this crups reminds me of my dad") and it was 2018, the perfect incentive for theories. I remember reading a lot of stuff related to MC father's back then talking about his potential involment in the fake mafia that is "R".

Merula's family was a good point to start and the game dosen't lacks of tragic & sad backgrounds but oh well, we have MC and their disaster of a brother. Not counting Peregrine.

Areas we have Cecil Lee & Tulip grandmas, all heroes of the motheand.

Btw I love your comments & reviews, your knowledge over the matter is truly impressive & I adore your humor. Never had the opportunity to ask something and doing an appretiation post but here we are, sending much much love! You deserve it!

Have a fantastic day!💞

First of all, thank you for your nice words! 💖 I’m glad to hear that you enjoy my content!

Now, as for the rest of your message, I’ll start by addressing the Crup lesson. Because you see, I’m fairly certain that this line was supposed to be Barnaby’s. I remember very well when it was discussed in the fandom, but I also remember realising that this particular class had more “mislabelled” lines. For example, MC said this:

And again, I’m pretty sure that it’s supposed to be Barnaby’s. I recall him mentioning at some point that his grandma has a Crup, but even if not, he’s basically the only character who talks about his grandma (since, as we know, he lives with her). So, I think it’s a rather reasonable conclusion. Besides, “mislabelling” in classes happens from time to time… all the time.

Therefore, I’m actually pretty sure that MC NEVER mentioned their father as "a single unit". The closest we got is probably our conversation with Tulip from Y3.

Sure, there were theories about the father anyway, but in reality, they existed mostly because there was no information – and if they’re hiding it, they have to be planning some plot twist with him, right? Well, no. If there’s no information, there’s nothing to twist. They should’ve left him not existing at all, and it’d be more logical from the storytelling point of view than what we got.

And because of that, I’m gonna hate this “plot twist”, no matter what Peregrine’s personality would be. Because it’s just stupid and lazy. Even if Jam City added only one line in Y1 when MC was telling Rowan about Jacob’s disappearance, like: “It was even harder because just a couple of years earlier, our Dad left us, too”... I’d be less upset than I am now. They wouldn't have to talk much about him later on or even not at all – just give me some basis to twist.

As for shitty fathers in general, though… I don’t know. I mean, I can’t comment on Ethan because I don’t play Quidditch content, so I don’t even have half of a picture of his character. I also have to mention that I probably have a MUCH better opinion about Tulip’s parents than most of this fandom (more about it here and here). But other than that? Well, I think it’s a mix of factors you mentioned. For example, MC’s generation was born and raised during the First Wizarding War. I imagine that most people were affected by it somehow, Death Eaters or not. And so, it could affect family dynamics as well (in fact, I believe it’s a big deal when it comes to Tulip’s relationship with her parents).

Besides, I’d keep in mind that it’s a story about teenagers for teenagers. And in stories like that, it’s quite common that parents just don’t play a big role in general. For example, Hermione was spending almost every summer and holidays with Harry and Ron. When you think about it, her parents were barely seeing her since she started Hogwarts. Does it mean they’re terrible and neglectful parents who don’t care? Or they’re so abusive that Hermione didn’t want to be with them? Maybe. Or maybe the story simply needed Hermione to be with Harry and Ron. I suppose it kind of qualifies as “we don't know the entire scenario so it's too soon to judge”.

Admittedly, Jacob and Peregrine are a bit different. Personally, I believe that they’re both simply shitty and manipulative people, and I don’t see any excuse for that. Of course, I also believe that Jacob we see is an imposter, so… I might be wrong about him. However, I have no doubts about Peregrine. Still, even though it’s bad and unhealthy… it kind of makes sense overall? Like, HPHM was always about mysteries, and deceiving, and betrayal etc. It’s almost to be expected that Peregrine would fit that pattern.

That being said, I assume it will affect MC as a parent. In the best-case scenario, though, it’d mean that MC will try extra hard not to repeat Peregrine’s mistakes, so it doesn’t have to be a bad thing. Then again, MC is an idiot, so they probably won’t learn anything… But hey, it might mean they won’t learn bad things either!

I don’t know if that’s the response you were expecting – I feel like it’s not. But I don’t really know what else I could say. And it’s partially because I feel like my opinion on parents in HPHM is quite different than most of the fandom, just like I said in the context of Tulip. In fact, I don’t even think that the Snydes were bad parents. Terrible people? Sure. But I’d say they were decent parents (again, more here, if you’re interested).

On top of that, I guess I’m too upset that Jam City decided to use such a lazy “plot twist” to be really concerned about Peregrine as a father figure. He is a bad person and a bad father, but I'm not surprised by that, if that makes sense.

Anyway, I hope you’re having a wonderful day, too! 💕

(And feel free to ask if you’d like me to elaborate on anything!)

[taechaos]

I was thinking how would a day in the Family of the Jeons looking like? Could you make a drabble of it? Of course only if you want to :)

OOOOO OK OK OK I LOVE THAT

Jungkook hasn't cracked a single smile throughout the whole day. You tried comforting him before his ride back home for the majority of the spring break, but nothing can save his depression from being around his mother. There isn't one good memory that involves her presence in his life.

He was willing to stay in his dorm throughout the whole three weeks of vacation, but tough luck, there was a cockroach infestation a day prior to his holiday. Only his dorm. Fate has different plans for him, and he's not religious or anything, but Satan might just be lurking around him.

Your house isn't available because of your strict mother, his friends are leaving town and staying with Taehyung is arguably worse than temporarily living with his mother. At least he doesn't have to share a room with her.

The scowl on his face only deepens when he comes face to face with his first home. It's like ripping off a bandaid when he opens the door, unlocked as usual, before entering.

The living room greets him with crickets. Utter silence and empty with no one around. The walls are chipped, the couch is washed out and the hardwood flooring has scratches on them. He enters and makes the effort to not make a sound as to not summon his mother, but like clockwork, the moment he steps foot inside, she appears from the kitchen.

"Jungkook!" she gushes and tackles him into a bone crushing hug. Her eye makeup is smudged and her outfit is merely a black nightgown.

He knows her excitement will wear off soon enough; they're bound to argue in a matter of minutes about his "disrespectful behavior." She's unpredictable in that regard, but it's clear that absence makes the heart grow fonder.

He groans and yanks her arms away. His greeting is merely a question, "Is anyone else here?" He knows his mother like the back of his hand: incapable of being alone and constantly searching for her next soulmate. The only serious relationship he's had was with his father, who is basically missing.

"Only my boyfriend and his daughter." She leaves room for him to take off his shoes and throw his bag full of necessities on the floor. "She's really pretty by the way," she whispers.

"Not interested."

"Oh come on, you haven't even met her–"

"Babe?" A stranger with a gruff voice steps out of the master bedroom while fixing his bed hair. It's 2 PM and he looks like he just woke up.

"Good morning sweetie," his mother brightly grins at the man before introducing her son. "This is Jungkook, my boy I was telling you about. Kook, this is Jinyoung." She leans into him threateningly, "Be nice."

"How fucking old is he?" he whispers back, perplexed.

"Thirty-seven."

"Are you serious?" he groans and stands straight before picking up his bag. "Good luck," he plainly greets the man before walking off to his bedroom.

Upon opening the door, a young girl sitting on his bed with music blasting from her earphones enters his sight. She squeals when she looks up to see the intruder and yanks the buds out in panic.

"What the fuck? Mom!" he whirls around to find her in the kitchen again. "Why is there someone in my room?"

She doesn't look up from the stove where she's practically burning scrambled eggs and her calm tone contrasts his angry one. "That's Yeri, the girl I was telling you ab–"

"I don't give a fuck, why is she in my room?!" The chaos is already making his head hurt.

"She's been staying there for a while now."

Jungkook slaps a hand on his forehead and inhales until his lungs hurt. He stomps back to his room with a death glare. The girl hasn't moved an inch out of surprise and the music continues to come out of the earphones. "Get out. You're taking the couch."

"A-Are you Jungk–"

"Out."

She shoots out of the bed and scurries to the living room with a fearful expression. He sighs and kicks a stray bra lying on the floor out of his way before dropping his bag with a thud.

This sucks. He considers running off to Taehyung in a moment of desperation, but he hasn't reached the level to go through with it yet.

He starts unpacking and ignores his mother's announcement of breakfast. He collapses on his bed with a grunt and massages his temples, but even one second of peace is not an option in this household when his mother barges in to repeat her announcement.

"I'm not hungry," he spits.

"At least sit with me. I've missed you so much–"

"I'm tired."

"Stop being a brat and come."

She leaves no room for argument when she slams the door shut. "You're so annoying!" he shouts past the thin walls before smacking his head at how childish he sounds. Is this Hell?

He shoots you a quick message before trudging to the dining room.

♡ the love of my life ♡: kill me

He slumps down on the only idle chair next to Yeri and leans back without even glancing at the dish. He lost his appetite the second he came here.

No one's touched their food yet, presumably from waiting on Jungkook, and just as Jinyoung picks up the utensils, his daughter nervously chimes in, "Let's say grace!"

The couple is surprised by her words. "You're the one who always whines about it," her father states quizzically.

His mother scoffs playfully. "She wants to hold Jungkook's hand, sweetie," she nudges her boyfriend with her elbow.

Yeri blushes and looks down at her lap as Jungkook mutters exasperatedly, "Jesus fucking Christ..."

He crosses his arms when she meekly holds out a hand to him and her father, and his mother frowns upon the action.

"Jungkook," she drawls.

"I'm not fucking Christian!"

"Just hold her hand!"

"I don't want to!"

"When a girl is interested in you, you're expected to respond accordingly."

The other family in the table stare at them in bewilderment, thrown off by their bickering.

"Yeah, I'm responding with rejection."

"Get over this I-hate-girls phase already, you're twenty years old!"

"I have a girlfriend!"

"Oh please," she dismisses him with a flick of her wrist, "I'd love to meet her in your dreams."

"She's real," he growls with a snarl, "and she's certainly not a kid." He gives Yeri a pointed look.

"I'm seventeen!" Her father clears his throat uncomfortably.

A notification from his phone disrupts the conversation, and he checks it to escape this mentally draining interaction.

You: oh baby what's wrong:((

♡ the love of my life ♡: mom is breathing

"Who is it?"

He scoffs at his mother without looking up from the screen, "My girlfriend."

Yeri whines with a pout as his mother jumps from her seat to take a peek.

"What the hell are–"

She smacks the back of his head after reading his last text in a millisecond. "Mom is breathing? You brat! Who is this girl? Show me a picture," she gushes excitedly, completely forgetting her earlier attempt at matchmaking.

"None of your damn business," he hisses before he gets another notification. Him and his mother immediately look down at his phone.

You: i'm trying to make the best of staying with my mom >_< you should try as well!

♡ the love of my life ♡: with this woman?|

She coos as she snatches the phone out of his hand. "Hey!"

"She sounds so nice! Take her advice, you imbecile–"

"I'd rather die," he deadpans as he tries not to hurt her while reaching for his phone.

"Listen to me," she uses her authorative tone that has Jungkook pulling back with a frown. Old habits die hard, such as rebelling against his mother before she becomes genuinely intimidating. "You're stuck with me for a month. Don't make me turn this house into a living hell."

He resists the urge to say it already is.

————

Smoke swirls in the open air from the lit joint that hangs off Jungkook's lips. Finally, some peace and quiet in the balcony. He came prepared with a stash of cannabis for when things get too overwhelming in the house, and it's only the first day.

The sky is bland with no stars or clouds, a boring view of midnight black from the balcony where he leans against the railing. He enjoys watching the busy street instead, and he feels less shitty about his current living situation.

And yet his newfound happy daze fades too soon when the joint is snatched from his fingers. "Give it ba-" he pauses when he sees his mother taking a puff from his stick. He looks away lazily.

"Don't worry," she blows out the smoke, "I'm not here to scold you for smoking weed."

"I don't care."

"You're old enough anyway." She follows his line of sight and takes another drag. It's quiet for a minute until she asks, "You met her in college?"

"Yep."

"Truth be told, I can't imagine you asking out a girl when you're so spiteful. How did it happen?"

He can't believe he's having this conversation, or why he's responding without being so snarky. He chuckles instead. "I didn't really ask her out. She made a deal with me where she does my homework and I pretend to like her back or whatever."

She laughs quietly. "You used her feelings for you to your advantage? You take after your mother," she jokes.

"She offered," he shrugs with a smile, " and I was struggling with my courses. I chose law as my major when I was mad at you so I could sue you or something, but it's so fucking boring."

"Oh, how much you love your mother," she huffs with a giggle. "I deserved that. Being a single mother didn't exactly work out for me."

"You were no mother," he scoffs, "all you did was ignore me or insult me when you weren't introducing me to my next step-dad. Did you know that this is my first relationship?" he glances at her with a bitter lopsided grin. She turns to look back at him and passes the joint. He inhales the filter before continuing with a mouthful of smoke, "I didn't want to date anyone because I didn't want to turn out like you. I didn't want to have relationships that only last a week before moving onto another one. I can be alone."

"Let me guess, you didn't believe in love either," she mocks in a silly deep voice.

"Fuck off."

She sighs as a peaceful silence settles over them aside from the running engines. The truth hurt.

"Tell you what, son. You turned out a lot better than I did. My parents didn't exactly raise me either, only left me with more issues than I can bear." Jungkook listens intently without reacting. This is the only normal conversation he's ever had with his mother. "I have practically no redeeming qualities, and having sex is the only way I can pass the time."

He groans. "I did not have to know that."

"Oh, I'm sorry, did you want me to tell you about the birds and the bees first?"

"I get it, you're a prostitute with no salary."

She whacks his head before bursting out in laughter. He suppresses his own laugh and merely chuckles through his nose.

"You would've been a better mother if you were high all the time."

"Nah," she shakes her head, "I just needed to be more present throughout your childhood. It's too late for me now." She shrugs as her lips fall into a hard line. Jungkook's smile falters and he doesn't say anything.

When she feels tears welling up in her eyes, she blinks repeatedly and lets go off the railing. "Good night, Kook. I'll see you in the morning."

He nods at her and watches her leave. Beats staying with Taehyung.

"Night," he murmurs to himself before putting out his joint and entering the living room. All the lights are out, but he's still familiar with the layout of the place.

When he passes the couch, he flinches at the sound of Yeri's voice. "G-Good night–"

"Shut up."

Before jumping on his bed, he checks his phone to see if you've sent any texts.

You: good night and sleep well baby!! i love you sm <33

♡ the love of my life ♡: gn and ilym

♡ the love of my life ♡: lets meet up tmr

[phoenixyfriend]

More "de-aged Taka and T7 end up in the Warring Clans Era as Founders' wards" AU

“That’s a thing?” you ask. The answer is yes.

Uh. Kind of. Deaging Team Seven for the sake of tossing them back in time for a Founder to adopt is pretty common, but I’m trash for Taka so this AU started with me brainstorming the asshole team.

I am falling more and more in love with the idea of Tobirama ending up with custody of Team Taka somehow. He’s a science dad, but like. Marginally more ethical than Orochimaru.

Everyone around them is like "This is a terrible idea and it's all going to end horribly" and he's just like "Ah, these are now my children."

I've read so many "Team Seven time-travels and is de-aged, get adopted by the Founders" or "a Founder time-travels forward and adopts Naruto, subsequently picking up the others" and they're good but I now want the same plot with an even more dysfunctional collection of... eldritch mishaps? The AO3 feel of "I want this fic I just read, again, but a step to the left so it feels fresh and new"

I'm considering the tent of tranquility idea (courtesy of @sloaners​) and I've come to the decision that Tobirama's... probably going to end up with Several Holes in it, and burns, and cuts, because Karin and Suigetsu never stop fighting, and if they're fighting, they're not paying attention to how soon Juugo's going to lose his grip on control.

"Hm. Tobirama?" "Anija." "Where did you get children?" "They showed up." "One of them looks like an Uchiha." "He does." "Two of them are trying to kill each other." "That's normal." "Are the Uchiha going to accuse us of stealing a clan child?" "Probably." "...Tobirama, did you steal these children?" "No."

(It's not kidnapping if they show up and break into your house first.)

(Also none of them are particularly pressed to ditch the Senju and find their clans. Maybe eventually. Not now.)

They’re assholes but Karin is, even at Supposedly Age Three, babbling at Tobirama about proper lab protocol and chemical reactions and isn’t that just the most adorable thing?

Very few people find Karin as adorable as Tobirama does, because Karin knows more ways to kill a person than most adult shinobi, because most adult shinobi don’t know about things like flesh-eating diseases and specialty poisons from the other side of the continent that can only be refined via chemical processes that won’t exist for another three decades.

Juugo is a sweetheart. Best child. Then he loses his mind but it’s okay, Sasuke is there. Do the Senju trust the clearly-Uchiha child to control the much larger five-year-old? No. But they don’t have any better ideas right now, so.

Tobirama: Hm, we should do something about that. Karin: Here’s a list of ideas and things that have already been tried. Tobirama: Thank you, small child. Where did you get this? Karin: ... Tobirama: Fair enough, let’s see what we can do.

Suigetsu is a little terror because not only is he a Massive Jerk but he also has better control over water than most adults. Mostly because he is water. It’s very hard to find him when he’s avoiding chores.

Karin clings to Mito sometimes because Family! and then Hashirama tries to tease Tobirama about being upset that one of his students/children has ditched him. Hashirama ends up moping in a corner because Tobirama snaps at him, unsurprisingly.

IDK if we have like any canon for Touka beyond skill with genjutsu, but going off of the fanon that she used a naginata, I’m going to say that Suigetsu keeps trying to challenge her to Blade Fights and she’s just like Neat, A Tiny Murder Machine.

Sasuke is very quiet for the most part and Dramatically Broods On Rooftops And In Trees and Hashirama is just like YES YOU REMIND ME OF MY BROTHER AND ALSO MY BEST FRIEND and Sasuke hides.

Sasuke does not need another Naruto, thank you.

Sasuke ends up hanging out with Mito, I think? Like yeah, sure, she’s an Uzumaki, but she’s chill and refined and calm and she has really good tea in stock. Sure he has to learn fuuinjutsu to have an excuse to hang out with her, but that’s fine. It’s interesting. Karin does it too, sometimes.

tbh that probably leaves Hashirama to hang out with Juugo? Juugo isn’t great at Excite but he is great at nature so I feel like Hashirama would be stars-in-eyes about Juugo talking to birds the way Hashirama talks to trees, and Hashirama just gets him a chicken coop like HERE. FRIENDS.

But back to the suspected child theft.

Hashirama is like “That is... clearly an Uchiha. They are going to find out, Tobirama! Someone is going to figure out we have--” “Sasuke, show him your other eye. Yeah, the one you cover.” “...” “Okay, go back to playing.” “...Tobirama.” “Yeah?” “That was a Rinnegan.” “You know those rumors that the only way to get a Rinnegan is to mix the Uchiha and Senju bloodlines?” “It’s true?” “No idea, Sasuke won’t tell me anything about his parents other than their names, and he’s three, but even the chance of it being true means we have an arguable claim.” “...that’s not going to be enough to convince the Uchiha.” “The theory is but one weapon of many in the upcoming battle of wits.” “Tobirama--” “Now if you’ll excuse me, Anija, I need to go make sure Suigetsu doesn’t flood the training grounds again.”

tbh I can’t remember who made the original comment in canon about the Rinnegan being achieved via Senju/Uchiha babies but it’s funny to use here so I’ll pretend it’s a common rumor that nobody actually believes

MEANWHILE WITH THE UCHIHA Madara found and took custody of Team Seven and company, mostly because they’re like... jounin-level despite being less than three feet tall.

It involves a lot of Madara going "I want My New Children to love me!" and being sorely disappointed by half of them. Poor fucker got stuck with Naruto, Sakura, Sai, Kakashi, Yamato, and Obito.

(KakaYamaObito are deaged by the time-travel to 10-13ish. The kids are deaged to 3-4. Everyone has memories to just after the fourth war or so.)

Karin sensed T7 and tagalong pretty much the second they popped out of Kamui, and told Sasuke, but he correctly guessed that Naruto would hunt him down eventually, and said they should enjoy the peace and quiet while they had it.

Sai pulls emotionless creepy smiles in an attempt to freak out Madara but since Madara's whole thing initially was "less children in war," he's... mostly just sad. Izuna wants to know who made his brother cry.

Madara makes a vaguely misogynistic comment that's typical for the period and Sakura just. Breaks his tibia.

Naruto is genuinely trying to treat Madara with the kind of respect a caretaker that Attempts To Care And Do Good By Them deserves, because Naruto is a good egg, but he's... three again. Which means he's a Hellion.

The literal toddlers (Naruto and Sakura are three-ish, Sai is four-ish) are, in fact, toddlers, so nobody really expects them to be able to do anything. Nobody bothers to test them beyond the basics of like. Can walk? Can talk? Can maybe hold knife? Like don’t get me wrong, they’re very competent toddlers, but their hands can barely wrap around a kunai. Their bodies are tiny. Their bones only just stopped being soft!

That said, the “tweens” (re: adults who got deaged but Less) have to get tested for their skills. Kakashi downplays himself to what he imagines a semi-competent eleven-year-old to be capable of. He thinks of, like, Neji maybe? Good, but not suspiciously good.

Obito enters an intangible state and refuses to participate. He has a Mangekyo. His body is half-Zetsu. Stop bothering him. He doesn’t want to do anything. They assign him babysitting duty for Team Seven since he can obviously defend pretty well, and Kakashi vouches for his abilities as a fighter.

Yamato decides to try to be just a little worse than Kakashi but at one point he panics and does Mokuton on instinct and now the entire Uchiha compound is screeching because did they just steal a Main Family Senju kid by accident?

Yamato: Should I tell them I was a science experiment? Kakashi: No.

Pranks galore! None of the other time-travelers even try to stop Naruto, except maybe Yamato.

Obito at the Uchiha compound is mostly "I don't want to participate" and then just uses Kamui to be intangible until people leave him alone. If it's not another time-traveler or Madara, he's not interested. He doesn't even care that much about Sai or Yamato, actually, so if it's not an original T7 member, he doesn't care, and if it's Madara, he's just here to make things Difficult.

The Kyuubi wanders up to the Uchiha compound one day and everyone's preparing for a battle, even Madara isn't confident that he can-- [BANG] "KURAMA!" [delighted squealing]

Naruto now has a pet. The entire clan is terrified. Kurama pokes his nose at Naruto's stomach and disappears into the memory of a seal.

Madara, frantically writing a letter to Hashirama "What do I do if my toddler is possessed?!?"

Hashirama: You have a toddler?!?!?! OMG you should organize playdates with Tobirama's kids! Madara: I'M GOING TO QUESTION THAT LATER, PLEASE HELP WITH THE POSSESSION THING

Kurama hunts down Naruto, and the Jinchuuriki situation is very much in the realm of "Dis Mine" Also a bit of "If I'm in the brat, there's at least one Mangekyo user in hearing distance who can and will risk his life to prevent brainwashing. (Kakashi. It’s Kakashi.)

Naruto: Kurama's one of my best friends! Every time traveler: Yeah, that tracks. Madara: [teakettle screeching]

Per @firebirdeternal​: I'm just loving the visual of Giant Nightmare Terror Kurama kneeling down and pressing his nose to Naruto's Smol Chubby Toddler self and closing his eyes while Naruto pets him and giggles and every single battle-ready Uchiha is just. "wat"

Everybody else: Cool so Madara adopted a witch Uchiha Elders: We need to be careful of this horrible creature The younger generation of Uchiha: Okay that was weirdly serene and adorable and frankly the brat is really likeable when he's not being adhd as hell I think this is actually pretty dope.

Madara really wants to be a Good Dad but he has no idea how he ended up being "a dad" in the first place. He just! He cares a lot about this random assortment of kids! Some of them are from prominent clans and there should be search parties for the Senju kid with the Mokuton, or the Hatake brat, or the Uzumaki that doesn't look Uzumaki but definitely feels Uzumaki.... and SURE the only Uchiha of the bunch is a stranger who hates him for no reason Madara can come up with, but! He wants to be a good authority figure!

At least the Uzumaki appreciates that he's trying.

Seriously, though, there are clan kids and nobody’s looking for them, what’s up with that?

Kakashi still has a prize copy of Icha Icha and nobody in the Uchiha compound does a thorough check of his reading material until like three months in.

He is blamed for Naruto developing the Oiroke, because where ELSE would a toddler get such ideas? (Yamato and Obito both tell him he brought this on himself.)

Naruto waits until a Big Important Meeting lets out, something about tithes or a merchant contract, and just pulls a Harem no Jutsu in front of the entire group of Elders And Main Family. First he does a Mass Shadow Clone, which makes everyone turn on Sharingan because Fancy New Techniques to steal! Sure, they were late on the shadow clones, but the kid is clearly gearing up for something! The something is Oiroke.

Anime Nosebleeds everywhere. Most of the elders were hit. Izuna was hit. Madara is not bleeding from the nose, but he is very upset about having semi-accidentally sharingan-memorized his weird adoptee’s Sexy Older Female Alter Ego. There is yelling.

Naruto’s like “Oh, I missed some!” and decides to try again with Reverse Harem no Jutsu because there are old ladies among the Elders, and maybe some straight women representing a guild, and maybe some gay guys he missed! Madara is still not bleeding. (He’s very demi and tbh Naruto only would have succeeded if he’d tried to use Hashirama’s face. Naruto does not know this. He just figures Madara is ace like Sasuke and that no variant is going to work.)

Izuna gets another nosebleed and is just like “Well, this is not how I planned on coming out as bi, but--” “Izuna, I literally do not care about you being bi as long as one of us has an heir at some point, I’m more upset about the fact that my child has been corrupted!”

Back in the Senju compound, there is... a lot of screaming, honestly, but every time Karin and Suigetsu start trying to kill each other again, Tobirama just shrugs and tells them not to break anything.

Very easy-going caretaker, really. He's got some very deadly toddlers in hand, but they're still just toddlers.

Sasuke: Yeah, I might want to go see my clan at some point. Suigetsu: Yeah, I might want to go see my clan at some point. Karin, clinging to Mito: Yeah, I want to go see my clan at some point. Juugo: Please never, ever take me to my clan. Ever. Please. I'll stay with Sasuke, thank you.

Naruto breaks out of the Uchiha compound the first time he enters Sage Mode, several months in (it took a while to get the privacy) because he feels Sasuke and lbr if Naruto knows where Sasuke is, nothing will stop him.

The Uchiha clansmen cannot catch the errant toddler. They fail to inform Madara until Naruto is already in Senju territory because nobody wanted to admit the toddler outmaneuvered them.

Naruto wasn’t sure how to get into the Senju Compound safely so he just goes full Kyuubi, bounds over the wall screaming SASUKEEEEE at the top of his lungs, and then shrinks back down to Tiny Brat size so he could hug his Bestest Friend Ever and cling like a limpet while Sasuke just sighs and stares at the wall.

Sakura ran after him.

Sai painted a bird and Yamato dragged Kakashi onto it to chase Naruto, because Kakashi is at a point of zen regarding Naruto's bullshit and fully trusts the kid to not die.

Obito refuses to look up from whatever he's doing and asks people why they think he cares.

“We told you to look after the toddlers!” “Why would you do that? Seems like poor planning on your part.”

Disappears when nobody's looking. Waits until the Ruckus at the Senju compound (where T7 has crashed in to tackle-hug Sasuke and Madara followed in and proceeded to get shouty, and nobody's dead or battling because they're too confused and also it's a comedy) has started to calm down, and then teleports in and demonstrates Mokuton just to make Madara's life harder when the Senju Elders start demanding answers.

His energy is very "I am here to make Madara's life harder" and Madara still doesn't know what he did wrong.

Madara: That brat has a Sharingan! Tobirama: Well THAT one has Mokuton! Obito: Yamato has it too. [angry teakettle noises]

Madara's first response to seeing Sasuke is to turn to Izuna and point aggressively at the toddler while making a tea-kettle noise "He looks just like you!" "He's four, he barely looks like anything!"

Naruto, tugging at Madara's hakama: You need to make a village with Hashirama so I can see Sasuke more often, cuz I don't wanna ditch you guys, but I gotta see Sasuke! He's my best friend! Madara, who is aware that he could fight this child but really doesn't want to, and also knows that a tantrum thrown by Naruto or Sasuke is capable of leveling mountains: Right, yes, we'll get right on that.

tbh Madara wants the village anyway but "The bijuu-whisperer said he wants it to happen" is a great way to push things forward.

[stark-tony]

underrated irondad and spiderson fic recs part 1

Men's Synch 3m Platform by loudestfandomsoftheworld

summary: or 5 times Peter Parker goes dumpster diving, and one time he does something else... " “You took my nephew dumpster diving?” Ben asked incredulously.

 His wife stood tall with a toddler strapped to her chest, tugging at one end of a couch with all her might. “I did not,” 

“Twash!” Peter yelled."

pairings: none

tags: fluff

warnings: none

do you even remember what the world looks like? by iron_spider

summary: Tony’s heart has been working on overdrive since this whole thing started. Friday has a countdown clock plastered on the heads up display, but it feels like hieroglyphics to him at this point, like some ancient language he could never master.

Because when Peter Parker is missing, things start losing their meaning real quick.

“Should be around here,” Rhodey says on the com. May is still on the other line, listening in, because once a certain amount of time goes by without word from Peter, things move into Extremely Worried Aunt territory. They’re already in Tony Is Panicking territory, and when both of those territories overlap it’s never a good time for anybody.

Time? What the hell is time? His mind is blanking numbers out entirely. Minutes are seconds are hours are years.

pairings: none

tags: hurt/comfort

warnings: none

Empty Casket by Jen27ny

summary: After the Vulture, Tony should have known better.

He should have listened to Peter.

But he didn’t.

And now, Peter is dead.

pairings: none

tags: angst

warnings: none

Patient #2252 by TheSoulOfAStrawberry

summary:  When a warehouse comes down on Spider-Man’s head and leaves him with a brain injury, Queens social worker Bianca Browne and Dr Grace Li of NY-Presbytarian Hospital find themselves racing the NYPD to uncover Spidey’s identity and get him help before he can be charged with a litany of crimes.

pairings: none

tags: hurt/comfort

warnings: police brutality

That's why they call me mr. fahrenheit by SparrowFlight246

summary: Peter’s on fire.

He wakes up fast, and before he even gets the chance to feel the pain, the aches, the dizziness, he feels the heat. It’s all encompassing, a raging inferno blooming from within him and burning him up from the inside out, and god, it—

—god, it hurts.

-

Peter gets whammied by a 24-hour superbug, and Tony’s left to keep him alive until tomorrow morning.

It sounds a hell of a lot easier than it ends up being.

pairings: none

tags: angst, hurt/comfort

warnings: none

not like megatron by iron_spider

summary: “Hi! This is Peter Parker, I can’t get to the phone right now, so leave a message and I’ll call you back later! Hopefully not too much later, but don’t get your hopes up!”

Tony knows that message by heart. He’s heard it hundreds of times, in a greyer world, and it sends shivers down his spine as he climbs into the car.

He doesn’t think about that place. That half-world. No way, that’s done, that’s over, that’s history.“Hey, kid, don’t you know it’s bad etiquette to go and disappear on your birthday? Not allowed, really, really bad vibes from the universe. What’s going on with your suit? I wasn’t watching. Nope. Just got an alert. What’s going on? Uh, call me back.” He clears his throat and hangs up like a moron, driving out into the street.

pairings: none

tags: hurt/comfort, fluff

warnings: none

Peter Peter Pumpkin Eater by frostysunflowers

summary:  ''Dying.''

''You’re not dying.''

''Totally am.'

'''God, I hope not, otherwise May will skin me alive.''

or

A weekend visit to the cabin doesn't go according to plan.

pairings: none

tags: hurt/comfort, humor

warnings: none

an irondad's misguided approach to homesickness by livingtheobsessedlife

summary: Peter mentions it once. Once. That he’s maybe kinda sorta vaguely somewhat homesick. MIT is no Queens, that’s all really. All in all, Pete’s having a great time at college. Really, truly.

The thing is that Tony’s never really taken the whole ‘only mentioning it once’ thing all that well. Not when it comes to Peter at least.

This time is no exception.

pairings: none

tags: fluff

warnings: none

you held your pride like you should have held me by searchingforstars

summary: “I had to take the risk!” Peter snaps. “I saved your life.”

Tony’s stare hardens. “Yeah, and nearly ended your goddamn own. This isn’t a trade-off. It wasn’t your call to make.”

“You would have done the same thing to protect me,” Peter points out. Tony just seethes at the statement.

“I don’t care about what you think I would have done. You are not me. And I don’t know who you think I am, but I’m perfectly capable of looking after myself."

--

or, as the timer ticked down, Peter knew his only option was to take things into his own hands. He just didn’t expect Tony to be mad at him for saving his life.

pairings: none

tags: angst, hurt/comfort

warnings: none

always on duty by parkrstark

summary:  Peter manages to convince Tony to take him to a gala, but when Tony is hurt, he realizes that it's just as dangerous to be Tony Stark as it is to be Iron Man. 

pairings: none

tags: hurt/comfort, fluff, humor

warnings: none

Out of Left Field by blondsak, seekrest

summary: Even if Tony didn’t end up becoming a big fan of the Mets, Peter knew they’d still have a great time at the game. And the fact that Tony wanted to go with Peter badly enough to make it clear that he should buy a pair of tickets as a birthday gift?

Peter shakes his head fondly.

Maybe for once the month of May was going to work out for him after all.

pairings: spideychelle

tags: fluff, humor

warnings: none

three weeks, two days, seven hours by crowkag

summary: It was a mess. A real mess. Peter had been gone for three weeks, two days, and seven hours, taken right out from under their noses.

And Tony was laying on the floor.

(AKA “you’ll always get there first”, but from Tony’s POV.)

pairings: none

tags: hurt/comfort, fluff

warnings: 

for as long as i live and as long as i love (i will never not think about you) by searchingforstars

summary: When Tony first started to forget things, Peter thought maybe it was just age. People’s memories fade as they get older, right? Minds get weaker. It’s just natural.

But Tony has arguably the sharpest mind of the 21st century. Peter should have realised that it was never going to be just getting weaker. It was never going to be just age.

No - not when the sharpest mind of the 21st century also happened to come into contact with the deadliest amount of gamma radiation known to man five years ago.

--

or, Tony’s sacrifice is still haunting them five years later. Peter has to come to terms with the fact that Tony’s memory is fading.

pairings: none

tags: angst

warnings: none

a dream is a wish by floweryfran

summary: Tony seems to panic for a moment, shifting his weight foot to foot, before spitting out in one mouthful, “I have a business trip in Florida right before your spring break and I talked to May and she says I can bring you to Disney for the week once it’s done ahhh.” He then breathes, grins plastically, and holds his hands out, like, I’m Tony Stark, hold your applause.

Peter runs the words through his head no less than three times to make sure he had understood them properly. “Disney—you and me—spring break?” he repeats.

Tony nods, hair flopping. “I mean, like, don’t feel obligated to say yes, but I thought it would be fun since May says you’ve never gone and she would’ve been working for your whole break anyway, y’know, at least this way we won’t be worrying about you sitting home alone for hours doing G-d only knows what—building accidental robot armies or something, or, worse, becoming a couch potato and forgetting every bit of knowledge I’ve ever carefully placed in that rat trap you call a brain—”

“Tony,” Peter says, waving his hands to shut Tony up. Something warm sits in the core of his chest, hovering. “Yeah,” he says. “Yeah, yeah, for sure, let’s—Disney. Let’s go. Wow.”

pairings: none

tags: fluff

warnings: none

Of birthday cake and millennium falcons by frostysunflowers

summary: "You still haven’t answered my question," MJ says, taking another sip of her juice.

 "Isn’t it obvious?" Tony replies, scratching at one of the scars on his neck with the end of a screwdriver. "It’s Ben’s birthday."

"And Ben’s birthday warrants a…" MJ waves a hand vaguely, "what the hell is that thing anyway?"

or

Tony has no self control when it comes to birthday parties and his grandson.

pairings: spideychelle

tags: fluff

warnings: none

what i have, i give to you by aatticsaltt

summary:  Tony would give everything to Peter Parker, if he asked for it. When May calls telling Tony she thinks Peter isn't feeling well, he drops everything to go check up on his favorite spider kid.

pairings: pepperony

tags: fluff, hurt/comfort

warnings: none

Smile! by aatticsaltt

summary:  Taking Peter to Disney World was one of Tony's better ideas.

pairings: pepperony

tags: fluff

warnings: none

and when it's hard, i'll place your head into my hands by hopeless_hope

summary: “Tony,” Pepper sing-songs to get his attention. “Your mother hen is showing.”

“What?” he snaps indignantly. “I am not a mother hen. This is just... concern. Of the average kind. Perfectly normal.”

“Of course,” Pepper humors him, and he shoots her a dirty look as he types out a quick text to Peter.

or

It's been five days since Tony's heard from Peter, who's away at college, and Tony is not coping well. (Neither is Peter.)

pairings: none

tags: hurt/comfort, fluff

warnings: none

Of Wally-Crawly Harnesses and Over-Enthusiastic Hat-Bestowing Capabilities by TheOceanIsMyInkwell

summary: Tony raises a brow at him in triumph, then sniffs and rubs the side of his nose. “Besides, think of it this way. Now you got a bullet-proof neck.”

“Nobody would even shoot a sad-looking orphan bundled like a spring roll in Red Heart yarn,” Peter points out. “That’s just low.”

“Excuse me, young buck, I resent the implication that I would let Red Heart come within an inch of your skin.”

“You’re insufferable,” Peter says flatly. “I hate you.”

“And just for that, I think this calls for those wool socks I was working on,” Tony says brightly.

“No--no, wait--”

“It’s time to learn that your consequences have actions, Parker--”

“Wait, wait, I love your knitting, I think it’s super healthy and fulfilling and honestly the best thing that’s ever happened to you since you retired!” Peter hollers at the man’s figure as it retreats quickly down the hallway. -- After Peter faints into hibernation because he can't thermoregulate, Tony isn't taking anymore chances. Out come the wool skeins and the knitting needles.

pairings: none

tags: fluff, humor

warnings: none

how do you sandwich!? by killerqueenwrites

summary: “Why are you buttering toast before you toast it?

”“I’m not toasting this.”

“Then what are you doing?” Peter demands.

“I’m making a sandwich.”

pairings: none

tags: fluff, humor

warnings: none

What I Can't Live Without by aatticsaltt

summary: Uneasy lies the head that wears the crown. Heavy lies the heart of the father who has to watch his son bow beneath the weight of the world.

or: When Peter calls Happy needing a ride out of the Netherlands, it's Tony who comes to the rescue.

pairings: none

tags: angst

warnings: none

Tales from Quarantine by just_a_hungry_author

summary: Peter, Morgan, and Tony are all stuck inside during the Coronavirus quarantine. Morgan learns to play Monopoly, Tony struggles to help with 1st grade math, and a prank war ensues.

God, this is the longest two weeks ever.

pairings: none

tags: fluff, humor

warnings: none

if we have each other by ftmpeter

summary: "Do you ever just, like, feel like you’re upside down?"

"You are upside down, Pete."

"Sounds fake."

pairings: none

tags: fluff

warnings: none

What Happens in the Blanket Fort Stays in the Blanket Fort by TheOceanIsMyInkwell

summary: “Well, I was gonna discuss with May some legal particulars about changes to my will that involve you,” Tony drawls, “but looks like I’ll just have to change my plans.”

There’s a beat. And then a yodel: “I’m just a poor boy, I need--”

“If not for this goddamn quarantine, I’d be there in a flash to shut you up myself, Spidey-Tighties.”

“You made these ‘tights’.”

“Funsie-onesie.”

“Mr. Stark.”

“Cooty-footies.”

“Mr. Stark. I’m begging you. What does that even mean.” -- Tony comes over to keep Peter company during the quarantine while the kid waits for May to come home from work at the hospital. Bants are had. Feelings are spilled. And maybe, just maybe, a hug or two is shared.

pairings: none

tags: fluff, humor

warnings: none

On his Shoulders by snarkymuch

summary: “Please, please,” Tony begged, “Keep breathing, kid. Don’t do this to me. You can’t leave me like this.” The morning started like any other for Tony. He kissed Pepper good morning and sipped his coffee. He scanned his emails and chatted with Pepper about the vacation they were always planning but never took. The calm should have been a warning, as the storm always followed.

OR

Peter and Tony get trapped in a building collapse and Peter is gravely injured.

pairings: none

tags: hurt/comfort

warnings: none

coronapocalypse by peterstank

summary:  “This whole quarantine thing shouldn’t even apply to me.”

“Uh, I beg to differ, it’s very serious,” replies Tony’s voice, slightly muffled like he’s got his phone pressed between his shoulder and chin. “We’re all on lockdown, which means no leaving your place unless it’s for emergencies.”

“And what qualifies as an emergency?”

There’s a pause.

“Why do I get the feeling you’re not in your apartment?”

pairings: none

tags: fluff, humor

warnings: none

Little White Lies by snarkymuch

summary:  Peter gets injured and tries to treat it himself, hiding it from Tony, but he can't keep it hidden forever.

pairings: none

tags: hurt/comfort

warnings: none

Peter Parker and the Terrible, Horrible, No Good, Very Bad Semester by just_a_hungry_author

summary: "So tell me, Kid." Tony said, patting the space next to him. "What's been going on?"

"Nothing's been going on." Peter denied, but he sat down anyway.

"Pete, don't bottle your emotions up. Only I'm allowed to do that."

When Peter again didn't smile at his joke, Tony continued. "I know you're stressed, Bud. But tell me why so I can help you."

"It's nothing you can help." Peter mumbled.

"Can I at least try?"

"I've just been having a bad week."

OR: Peter’s been having a rough time at college, Tony tries to jump in and help. 3000 words of pure fluff.

pairings: none

tags: fluff

warnings: none

Windy Webs by silentsaebyeok

summary:  And that was it. He was officially an idiot. Peter didn’t mean to be dramatic, but this was one of the most embarrassing things to ever happen to him, even if there was no one around to witness the fall of the century. -- Peter goes web-slinging in dangerous weather and gets seriously injured. It doesn't help that he has to spend the whole summer living with the consequences.

pairings: none

tags: hurt/comfort

warnings: none

Peter gets the chickenpox by snarkymuch

summary:  Peter and Morgan both catch the chickenpox. Morgan's case is mild, but Peter's is severe. Tony takes care of them both.

pairings:  none

tags: hurt/comfort, fluff

warnings: none

[juniorgman187]

Never Enough (Spencer Reid Drabble)

Summary: Ever wondered what Garcia wrote on that sticky note in the series finale? Read here to find out. When Reader, the new technical analyst, feels out of place at a party, Penelope’s sticky note and Reid’s kind words do just the trick.

A/N: This is a comfort piece for me, someone very introverted who never seems to do well in social gatherings. So this is dedicated to anyone who’s ever felt like they didn’t belong. You are loved. Couple: Fem!Reader x Spencer Reid Category: Fluff, Drabble Content Warning: Fear of exclusion, loneliness Word Count: 2.4k

✧･ﾟ: *✧･ﾟ:*

All my life, all I’d ever wanted was to be a social butterfly. Their lives seemed so easy. People would naturally flock to them, what with their charisma, their confidence, their natural gift of being conversational.

I envied them for the sole reason that I was nothing like them, not in the slightest.

It wasn’t easy for me to keep a conversation going, even if I was trying my very hardest, which was often the case. I could never seem to commandeer the room in the way that someone extroverted could, and it was especially hard sometimes to feel a part of everyone.

It would be too easy to say I was invisible. Instead, I felt painfully visible, and entirely ignored.

Everyone could see my shyness peeking through, everyone could see how alienated I’d become, everyone could see my despondence, and yet no one bothered to change it.

No one cared.

My excruciating awkwardness had reached an all-time high at Krystall’s birthday party.

Agent Rossi was so keen on inviting me, and I was honored to go since it’d be my first bonding experience with the team outside of work. I couldn’t turn down the opportunity to grow closer to them, otherwise, I’d run the risk of isolating myself even more. As if being brought in as the BAU’s new technical analyst to replace Penelope Garcia wasn’t enough of a reason for them to doubt, despise, and disrespect me, I was the introvert who had a hard time making friends - unlike my predecessor, who’ve I heard could make friends like nobody’s business. I knew I could never fill her shoes, much less fill the glaring void she created when she left, but still, I maintained my bright-eyes in hopes that I’d be enough for them, anyway. I was all too eager to get to know everyone as more than just my coworkers, with one exception.

Dr. Reid maintained an arm’s length distance from me at all times, and at first, I understood. I even empathized with him.

Besides SSA Morgan and SSA Hotchner, the only other person that he’d work the longest with was Penelope, and now she was gone, too, but the longer his rejection of me lasted, the more I was curious what he truly had against me, and the more I was less interested in changing that. Why would I work tirelessly at mending this broken friendship, if he wasn’t willing to meet me halfway?

I was more shocked that he, of all people, would be the most displeased with my arrival. When Agent Rossi replaced Agent Gideon, from what I heard, the transition wasn’t as rocky as mine. Dr. Reid was overjoyed to be working with him and to discuss all his books. When Jordan Todd, and eventually Ashley Seaver, took Agent Jareau’s place momentarily, he was happy to be working with them. When Alex Blake and Kate Callahan came in after Emily Prentiss, he welcomed them with open arms. So what was it about me that was so abhorrent to him?

I never outright asked, mainly because I feared confrontation and I also had no way of knowing if my curiosity would make the situation worse or better. But I should’ve. I should’ve marched right up to him and asked, “What’s your problem?”

Somehow, though, I finally got up the courage to do so tonight.

I watched as the team laughed at one of Rossi’s anecdotes, meanwhile, the inside jokes flew over my head, hindering that bonding experience I was so sure I’d get by coming here. So I stepped inside the house, wandering into a spare room, knowing I wouldn’t be missed.

I thought I’d only be there for a moment to get some “fresh air” even though I’d actually migrated from the outside to the inside, where there’d arguably be less fresh air, but that’d be my excuse if anyone came in. But I was forced to stay longer in the office when it finally happened.

I finally reached my breaking point.

It was building up all night. It started when I first stepped into the house. My confidence faltered almost immediately when I accidentally stepped on Rossi’s Italian leather dress shoe as I went to greet him. He told me not to worry, but of course, I did just the opposite. It was a minor bump in the road, something so minute, but still, it weighed on me thinking about how embarrassing it was that I dirtied something of his that everyone recognized as valuable.

My shame didn’t stop there. As I was talking with Krystall, there were many periods of awkward silence that I couldn’t manage to fill with words, so we each sipped at our wine until one of us would try to pick up the conversation. What’s worse was that we each knew the silence was suffocating, and I could tell we were both thinking of things to say to keep the conversation going, and yet, nothing worth saying came to mind.

And worst of all was when Penelope Garcia finally arrived at the party. Don’t misunderstand me - it wasn’t the worst part of all because she was bad - no, she was lovely. She gave me a welcome present - a Beanie Baby to put on my desk, evocative of her own style of decor, and I loved her for it, which made me hate her all the more.

Rossi’s house livened up when she came. Everyone flocked to greet her, laughter erupted and ricocheted off Rossi’s high ceilings. They were positively elated by her presence, truly happy. Which was the first time I’d ever seen them that way because frankly, they were never that happy with me.

It was a painful reminder that I could never bring what she brought to the team, and I could never be as good as her. And the general consensus I reached, sitting in Rossi’s office all alone with my glass of wine, was the same one I’d known for years now - I’m not enough.

And I will never be enough.

I hadn’t realized I was crying until a tear cascaded down my cheek, dripping right under my nose, forcing me to audibly sniffle it away. Using the sleeve of my cardigan, I desperately tried to wipe away the tears faster than they were spilling out, but it just wasn’t possible. In fact, the coarse fabric of my cardigan rubbing against my cheeks only made them redder, making the fact that I was unwell that much more obvious.

The sound of the doorknob turning sent me into overdrive, automatically engaging me into turning around and facing the wall so that whoever was coming in wouldn’t find me in the state that I was in. I sniffled a great big sniffle and fanned my face to dry it of any moisture that my silent sobs could’ve left.

“Sorry, Rossi, I was just getting some fresh air and I thought I’d check out your book collectio-”

When I turned around, Rossi wasn’t standing there as I’d assumed.

In fact, the person standing there was the last person I thought it’d be.

“Dr. Reid?”

He was lingering in the doorway, studying my face, to which I instantly preventing from continuing on any further by cowering my head and looking away.

“What are you doing here?” My voice had taken a tone of anger that I didn’t anticipate to be there originally.

“Are you okay?”

To my surprise, his question seemed sincere, but I couldn’t truly believe it was.

“Yeah, I’m fine. Just allergies from being outside for so long. The pollen and stuff, you know?” I rambled nervously.

“Oh, really? Are you allergic to the grass?” He asked in a joking manner, knowing I was lying but still asking so that he’d have the satisfaction of getting to see me try and work my way out of the situation.

“Yes, I am actually. The most common outdoor allergy triggers are trees, grass, weed pollen, mold spores, dust mites, cockroaches, and cat, dog, and rodent dander. Don’t you know this? After all, you’re the one with the IQ of 187 here, not me.” I tried to joke to lighten up the room’s heaviness, but clearly, it didn’t work.

By this time, I’d already turned back to face the wall, so Reid surely couldn’t see me, but I heard the door click shut behind me, and a wave of anxiety permeated my soul.

“What’s wrong, Y/N?”

I scoffed at his question, almost hitting him back with an “As if you care.” But I decided against it in an effort to preserve what little repose we had left between us.

“Will you please tell me what’s wrong?” He sounded like he was begging - like he was practically willing to go on his hands and knees to get me to answer, but all I could focus on was the feeling of his hot breath ghosting over my neck.

Goosebumps rose on my skins once he put his warm hand on my cold shoulder, which was bare from the absence of my cardigan and where it had slipped down to my elbow.

I flinched at the sensation, causing him to recoil.

“I’m sorry, I shouldn’t have done that.” He quickly apologized, regret filling his eyes. “Um, you look nice by the way. I like the way you did your hair. A-and your dress. It looks nice.”

Not even giving a chance to respond to his compliment, I asked again, “Why are you here?” Pressing him to get the point faster before I had a chance to react at another one of his physical advances.

“I saw you leave the backyard and I thought I should check on you.”

“Well, you’ve checked on me, so you can go back now.” I didn’t miss a beat when responding, fooling him into thinking that I didn’t catch his words and their intentions.

“I just want to talk.” He replied, finally answering my question from before.

“Okay. Let’s talk.”

He took a seat on a chaise lounge sofa while I stayed standing by the bookcase in preparation for a quick escape if need be.

“I’m sorry I’ve been pushing you away. That wasn’t fair of me.”

Although I hadn’t expected him to apologize, I wasn’t going to be misled and naively accept his apology with no reservations.

“Why did you do it? And for so long?”

“I was angry. I didn’t want another person in my life that I cared about to walk away, so I thought maybe if I made you feel unwelcome, you wouldn’t want to stay. And she’d come back.”

It hurt to say, but at least I knew he was being honest.

“I accept your apology, but it’s not okay.”

“I know that.”

“Okay, are we good now? We’ve talked, so,” My hand gestured toward the door, suggesting he should leave, but he didn’t comply.

“I’m not leaving.”

“And why not?” The wine glass in my hand nearly shattered at the way my hand wrapped around it since its presence hindered me from being able to actually clench my fists.

“I didn’t come here to apologize, even though I should’ve sooner. But I came here because I wanted to make sure you were okay.”

“Like you care.” I chuckled mirthlessly.

“I do care.”

I gave in, not wanting to fight him any longer, otherwise, I might cry some more from the altercation.

“I’m fine.”

“No, you’re not,” He shook his head. “I know you’re not fine. What’s really wrong, Y/N?”

I looked away immediately from his gaze, trying to hide the sheen that was inevitably coating my eyes from the presence of tears, but he would’ve known I was crying the minute I used the cuff of my cardigan to wipe under my nose again.

“I just . . . I feel so unconnected,” I whispered, the pain of my words stealing my volume. “I don’t fit in. And I’ve never fit in before, but I actually thought this might be my chance.”

“It still is. Just come back outside.”

“You don’t get it!”

“What don’t I get?”

“I just needed to take a moment to compose myself so I wouldn’t ruin the energy of the room. And I’d really like to do that alone, okay?”

“I know you don’t want me to go.”

“What?”

“You’re testing me to see if I’ll stay.”

“No, I’m not.”

“So you’re saying that if I left right now, you wouldn’t regret letting me walk away?”

“Yeah, that’s right.”

“I know you’re lying to me.”

“I’m not lying.”

“Yes, you are. I know what it looks like when you lie. Wanna know how I know?”

I entertained his question out of pure frustration “How?”

“Because I pay attention to you. I see your mannerisms. I notice everything. Do you think I haven’t picked up on how you crack your knuckles when you’re nervous? Or how your stutter goes away when you talk about technology? Or how your fists clench, like how you’re doing right now?”

My eyes flickered to my fist that was wrapped so tightly around the glass, my knuckles were white. Out of shame, I loosened my grip.

“I pay attention because I care. And I’m sorry that I made you ever believe that I didn’t. What you do, and say, and think - it’s important. So no, I’m not leaving. I’m staying right here to give you the attention you deserve.” He sighed with a breath of relief. “I care more about you than whatever’s happening out there.”

And slowly, then all at once, that barrier between us broke down.

“I care about you. We all do. And when you’re ready, we can walk back out there together so that you can see for yourself just how much we care.”

. . . That night, I made nine more friends.

And the day we came back to work, with my Beanie Baby in hand, I rearranged my desk.

A folded up sticky note fell out from between two tables. I picked it up, recognizing the handwriting instantly.

Penelope Garcia.

Even when the laughter always seems to come from the other room and the world seems busy as it carries on without you, may you know this to be true. No matter who or what made you feel invisible, unworthy, unloved, or unseen, in this ever-moving world, there is still a place for you. And you are exactly in the place where you are meant to be.

✧･ﾟ: *✧･ﾟ:*

quote by morgan harper nichols

[cblgblog]

So my issues with Irondad are well documented at this point, starting from their very first scenes. Specifically the utter tone deafness of Peter’s recruitment, by both Tony and the writers. Tony starts the movie being blamed for the death of a 20-year-old kid who was in the wrong place, wrong time in Sokovia. That accidental death that can be put down to negligence on his part, is pivotal to what happens next. So pivotal he uses it in his pitch for why the other Avengers need to sign the Accords.

Tony, midway through the movie, deliberately brings a 15-year-old child into this conflict. A child he blackmails into going with him, because if you don’t, I will tell your aunt.

Charles Spencer was an innocent civilian, wrong place, wrong time in Sokovia. He died. That tears Tony up, as it rightfully should. And yet, in the midst of his crusade about following laws and accountability, he lies to May Parker about taking her 15-year-old nephew out of the country and into a warzone. Ignoring some well-established laws about child soldiers.

Tony blackmailing a child who’s had his powers for 6 months into participating in this conflict makes no sense. Ever. It especially makes no sense in the context of Charles Spencer and his mother. Yet neither Tony nor the writers seem to comprehend this. Which is why Irondad has been bullshit from the start. Blackmail and kidnapping are not sweet, father-son moments, even if you ignore the fact, as the MCU wants to, that Peter had a father already, in Ben Parker. He has a loving adult parental figure in May Parker. Both of whom cared about him before he had spider powers that might be helpful to them.

All of this, I’ve said before, so have others. And then I realized that I actually hate Irondad more than I thought. That Feige and co. mishandled it even more than I thought, and why? Because of this.

We know the story. Peter was, supposedly, this kid Tony saved at the Stark Expo in Iron Man 2. Started out as a fan theory, and then was confirmed that yes, this is true, this is exactly what we intended.

Now, we know Civil War had different writers/directors than Homecoming or FFH did. We also know that, for all the lip service of, ‘It’s all connected,’ we know that the creatives in these different franchises do not always talk to each other, and that they often blatantly contradict each other.

Taking all that into account, acknowledging that…the dumbasses at Marvel did not think up the idea of Peter being the Iron Man 2 kid. They heard the theory, thought it was cool, then took credit for having meant that the entire time, yes, that was totally us.

We know this because it is never mentioned in canon. All those Tony and Peter interactions, all those times of yes, Mr. Stark, I just want to be like you, Mr. Stark, and Peter never mentions that? When Tony takes he suit from him in Homecoming and Peter says that he just wants another chance, wants to be like Tony, would he not mention that hey, you saved my life, Mr. Stark. You saved my life and I just wanted to be like you, and now I can be, now I can save lives like you, just please give me another chance.

If the Iron Man 2 theory were true, would he not say that? In FFH, when he’s all guilt-ridden, I didn’t save him, would he not mention that hey, he saved my life before I was Spider-man, before I was special, before I was anyone?

Now I know what you’re thinking. The Iron Man 2 thing isn’t that big a deal. It’s not a crucial thing. And you know what, you’re right. It isn’t, it’s just always annoyed me, in an eyeroll way, that the same people who couldn’t count properly between 2012 and 2017 (8 years later flashing in giant letters across our screens means that Homecoming was meant to take place in 2020), that these same people who let something so blatantly timeline breaking get through then took credit for a kind of cool, kind of clever fan theory. It’s annoying.

I’ve now realized, however, that it is far more than annoying to me. Because TPTB at Marvel did not think of that idea for themselves, but if they had, and if they’d run with that idea? If they had, it would’ve made Peter’s recruitment in Civil War so much more fucked up than it already is, but so much more interesting. So, so, so much more interesting.

I’ve talked about why Spidey’s own movies (as much as you can call them that given the level of Tony infiltration) prove that the theory isn’t true. Now let’s go to Civil War. Different writers, yes, but let’s talk anyway about why we can tell from CW that Peter was not that kid.

He gets home. May is like, look who it is, Tony Stark. Not, look who it is, the hero who literally saved your life. When Tony locks himself in Peter’s room with him (still fucking gross, Jesus Christ), Peter is just, nope, I got no idea what you’re talking about. That’s—no, I’m not a superhero, no. He’s defensive. He’s apprehensive. He’s trying to figure out what fresh hell this is. He’s trying to hide stuff from Tony. If this is the guy who saved him at the Stark Expo, why this reaction? Why not, oh my god, you saved my life, I thought I’d never see you again, not, not up close I mean. When Tony asks him to do a thing, why is it not, well yeah, duh , you saved my life, where do we start? Or even, okay, I don’t really wanna do this, but, you saved my life, I owe you?

So, nobody wrote a fucking word of any of Peter and Tony’s interactions under the theory that he was the Stark Expo kid.

But what if they had?

Tony shows up at May’s place. He does not know who Peter is, in relation to their “meeting” before. He’s expecting to have to do some level of smooth talk to get in here but, nope. May’s just, oh my god, you saved my boy’s life, come in, come in!

We don’t know for sure that Peter was orphaned by the time of the Expo, but if we base it on comics and prior films, he likely was. Most versions seem to have him fall under Ben and May’s care between 2 and 6.  O1’ birthday means he would’ve been around 9 at the Expo. So, more than likely, Ben or May or both were the ones there with him. They may credit Tony with saving their lives as well.

So, Tony starts the movie being called out by a grieving mother. Going down this route, we’re at the midpoint…and here’s a different mother telling him how great he is. How he saved the most important thing in her life. How if Ben were here (May’s wearing her wedding ring around her neck btw, you can see it in the scene), Ben would say the same thing. Shake his hand. Hug him.

Now, Tony’s got a sharp ass mind, when it’s not clouded with booze or drugs or the like. Since he wasn’t wasted at the Expo, there’s a good chance that, given some details, he remembers saving this kid. He remembers how small this little boy actually was. He remembers how light this kid was when he grabbed him. It was a few seconds in a long ass night, that he hasn’t thought about in years, but to May Parker, it’s everything.

So maybe at this point Tony’s rethinking this. He’s remembering that little boy, realizing how young he still is. He pulled that boy from danger. And now here’s this woman who invited him into her house, told him how her husband just passed recently, things have been hard, especially for Peter but God, he’ll love to see you. Maybe Tony’s rethinking this, coming up with a way out, when Peter shows up. And then, aw hell. The kid’s just a mess of excitement and shock, possibly tears…okay now it’s just gotten harder to make an exit.

Let’s pause here to say that May Parker is not fucking dumb (“Cut the bullshit. I know you left detention. I know you left the hotel room in Washington. I know you sneak out of this house every night.”).

May is not dumb. Letting the 50-year-old dude go into her nephew’s room with him, alone? Arguably dumb, even if it is Iron Man. Letting him grab the kid for some Stark…thing, and take him wherever Tony said he was taking him on 12 seconds notice? Even more arguably dumb.  CW as it’s written dumbs down May’s character for the sake of an already questionable plot point. Especially since she literally says she’s not a fan of Tony in Homecoming. Yes, her comment there comes after the “internship,” her noting Peter’s distraction and stress because of it. But still, it’s fucking weird that she’d let this man take her kid out of the country, alone, in CW. It makes her dumb for the sake of plot.

But if Stark saved Peter’s life not so long ago? It at least makes a bit more sense. He’s a hero. Peter literally wouldn’t be here without him. Why would Tony hurt him now?

So, back to the scene. Peter’s probably less paranoid about showing his stuff to Tony. Probably not spilling everything himself, but when Tony notices things, Peter’s probably less panicked over it, more willing to confirm. Yes, he’s got these powers, okay? And he hasn’t had them for long, but he’s trying to do good, like Tony. He’s trying to do the right thing, like Tony.

Now, this kid has such literal hero worship going, and he’s so damn inexperienced, he admits that. And Tony’s still got Charles Spencer’s mom in his head. He’s dead, Stark. And I blame you.

Can Tony really take this kid—actual minor kid younger than Charles was—take him and put him on the field against the goddamn Avengers? That woman out there with the dead husband and the ring around her neck, what’s he going to say if Peter gets hurt, or worse? Sure the kid obviously has skills but, can he risk another grieving mom?

So, maybe Tony’s rethinking this. Maybe he can still get out of this, improvise a Plan B. But then there’s a text from Nat or Ross. Where are you? We’ve only got a few hours, what’s the play?

Special circumstances, nobody in that group is really gonna fight to kill…it’s special circumstances, and he can keep the kid mostly sidelined.

This time, he doesn’t have to blackmail Peter. He doesn’t have to threaten to expose his secret. Peter’s willing, either because he genuinely wants to, or he feels he owes Tony a debt. So there goes the dick factor of Tony literally blackmailing a child. And the lack of questions Peter seems to ask about what he’s fighting for, the acceptance of vague answers, that’d also make more sense in this context.

In this version, Tony is both more and less of a dick. He’s doing less active threatening and manipulation…but he’s also being doubly manipulative. His genuinely good deed gives him an easy in with the Parkers. He’s playing on the credibility of an earlier, at least somewhat better version of himself. One who saved Peter Parker and hadn’t yet ended Charles Spencer.

Look, I won’t lie, I legit don’t know what I’m saying anymore, except that Marvel sucks for taking credit for a thing that they definitely do not have credit for. Which isn’t particularly new for them, and wouldn’t particularly matter if the thing they took credit for (and didn’t do anything with) could’ve offered some interesting story possibilities.