#basically the same situation

[lookstairs]

I think one of the most realistic parts about Baby Reindeer (2024) is how much Donny downplays the abuse he faces

I know everyone wants to hate on him for being “stupid” and blame him for everything that happened because yes from an outsiders perspective he made questionable choices but isn’t that what HUNDREDS OF PEOPLE DO?

I know so many people who’ve “played nice” or tried to downplay abusive behavior. You try and tell yourself “It wasn’t that bad”, or that it was just some crazy experience that should be forgotten. It seems so much easier to stay silent and just try to move on.

You don’t wanna start problems

You don’t wanna be mean

You don’t wanna be the bad guy

[snowyh2o]

I absolutely love how of the (two) Hazbin Hotel role swap AUs that featured Alastor as either supporting or starting the redemption project I’ve seen and liked, they both put him in glasses and gave him a pony tail. That is what I call peak character design right there.

[menlove]

I get why it happened but nothing has made it more glaring how people refer to men in power vs women in power than kamala harris...... like it's smth every gender studies professor will beat into your skull by week 1 but most people don't even think about but like

if you're referring to "trump" or "biden" or "obama" in serious conversations and never just "donald" or "joe" or "barack" let's all take a moment and Rework our vocabulary to say harris or kamala harris instead of just "kamala"

like I'll be the first to criticize her don't get me wrongggg but if you can respect shitty male politicians enough to go by last & first last names unless you're making a shit post, do the same for her

(this is not an attack btw it's a deeply ingrained social norm to give women less respect than men but let this be a Reminder!)

[akuma-tenshi]

i would like to introduce you all to the family my friend and i have created through sheer love of these characters

[genericaces]

remembered my doomed weslah(?) post-nfa au that i can only describe as "wesley is an unofficial third to a semi-retired frunn who are now hippies in portland and also lilah is there"

wes grows a depression beard and gets really into building birdhouses. sometimes lilah, still liaison for w&h, shows up and together they're the most sexually tense couple at the farmer's market. (lilah makes him shave the beard)

obviously lilah decides that she needs to insert herself into this non-throuple in order to make wesley jealous and admit that he cares about... something. other than birdhouses.

anyways every visit inevitably ends with lilah being called back to work by the senior partners. she only gets to snag brief moments of freedom before she goes back to work, and every time wes has to say goodbye to her all over again he gets all morose and guilty about it.

and i think it's ultimately about hanging onto guilt and loss past the point where it's helpful for you because it's your last connection to someone, even though it's keeping you from living your life in the present, because on some level the idea of being happy feels like a betrayal. and trying to figure out what moving on even looks like

[m-says-hi]

my friend had a vision and I had to draw it also I'm aware boothill's eyes have little targets. But I wanted bh to have something that marks him as from Aeragan-Epharshel and I wanted it to be his eyes because parallels. So I have the head canon that his eyes always were black and red, and the targets were added when he became a cyborg

anyways avie and bh are very interesting to me, have a good day

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[mimjandoodlesstuff]

Now for seemingly the fan-favorite of @indieyuugure's human designs, Leo!

I wasn't really sure what I was doing through most of this, but I guess he ended up fine.

I'll try to get to Mikey and Raph later today or tomorrow.

Part 1, Donnie Part 3, Raph and Mikey

[splatattackz]

ramon waking up to hang out with pac.. WHAT IF I CRIED!!!!

the kid who used to only wake up for fit now has many people he'd wake up/stay awake for. him chilling with mike yesterday. waking up for pac today. the times hes chilled with bbh or tubbo recently. god. GOD. that kid went from it just being him and fit to having such a big family aufhh

[spacedlexi]

As someone who loves both Kenny and Violet, I feel like I’ve found my calling here 😭😭😭

They’re genuinely so similar, and I do agree that the fandom has male bias, as well as protagonist bias actually

Clementine has the opportunity to befriend/romance Violet and then let her get kidnapped 20 minutes later. And for Violet, that is the most obvious feeling of betrayal! I don’t understand why people in the fandom struggle to realize that their actions have consequences

Lee can basically hate Kenny the entirety of the first season and then the fandom defends Kenny for his actions.

Clearly most of us totally understand Kenny’s response to Lee’s and by extension Clementine’s behavior, so why can’t they understand Violet’s response to Clem’s? Makes no sense to me

honestly i feel like aside from having a male bias the fandom has more of a kenny bias than a protag bias. i see his ass EVERYWHERE. CONSTANTLY. some people act like he raised clem as much as lee did 😭 (and i dont like the way the fandom talks about clem sometimes 😒 ties into the "weird about women" stuff)(and javi? wheres javi? i would like to see more javi. i actually think i see david more than javi)

anyway. i DO find kenny to be a compelling character and understand Why hes popular. its why i initially thought vi would be more popular among those fans! people who like both kenny and vi i can trust to have understood the assignment 💀 because they really do share similarities. but things some people LOVE kenny for they absolutely LOATHE violet for. and its just???? whats not clicking???

i really dont understand why some people act So Shocked by violets reaction in the cells. like hello?? YOU did this to her??? shes done nothing but put herself on the line for clem (even if clem is mean and ungrateful about it), and the One time vi needs clem to have her back, she doesnt (even tho its an impossible choice to make, and deep down vi understands this). and people shock pikachu face when it pushes her back to minnie like no shit??? but i dont think theyre even paying attention to violets character in the first place so 🙄😑 violet settled into that leadership position on her own and not only do you strip her of that role by letting her get taken she also feels discarded by the One Person who was actually influencing her to change for the better in the first place. AND you can do it all 20 minutes after kissing her. of course shes hurt!!! but people act like shes soooo unreasonable for her behavior (and vi would later agree with them! she tries apologizing to clem on the beach actually. thats how quickly she regrets it. but its too late at that point for her i guess 🙄 irredeemable. to the stocks)

kenny will Literally refuse to help lee look for clem if you pissed him off too much like 😭?? if you arent kissing kennys ass 24/7 he is the worlds biggest bitch about it. but endless excuses for kennys behavior for some reason 🤨 him trying to save ben (or christa but its better with ben narratively) is his first Real selfless act and its why its such a compelling conclusion for his S1 arc (only compounded by the fact its BEN of all people hes trying to save, the reason his family is dead). and S2 kenny is all about how his mental health is in sharp decline and hes becoming more violent as he attempts to control what he cannot 💀 kenny defenders out here using up all the oxygen in the room to make excuses for his actions but the minute vi makes One mistake she immediately regrets (after being nothing but loyal), shes an evil bitch deserving of what she got 😐

gee i wonder why 😭😔

[blockgamepirate]

What sucks is that I can feel that a major split in the fandom is probably inevitable now

I guess this is doomposting but I can already see it happening

idk, I'm gonna support the workers in any case

I don't particularly care about the current argument over the union, it's pure distraction to shift the discussion away from the actual problems, as if anyone here actually cares about the union and not just what the union can possibly facilitate

But I do care about the employees and former employees of QSMP and they deserve respect and dignity and credit, not slander or vague passive-aggressive accusations

Which I've unfortunately seen even from people I know and care about, even people I follow or used to follow here on Tumblr, even people I consider friends

So, I feel like I should just be honest here, idk how I'm gonna handle this diplomatically in order not to burn too many bridges unnecessarily, because I don't actually want to lose people over this, but I do also have principles

I had no animosity towards Quackity before this, I hope you can see that from my blog history; I've never been a cc!Quackity hater. Unfortunately at this point I do need to see him do better than this, because his employees and former employees deserve better

If he does actually try to make it all up for them, if he actually talks to them with respect and a willingness to listen to their concerns and their experiences, then I have no more beef with him

I don't think he's a bad person, but he is doing a bad thing

That's all

[ruvviks]

finally got around making a proper outfit reference sheet for nathan! he likes wearing dark clothes which really emphasizes just how pale he is. he was a STEM developer at MOBIUS for nine years what did you expect </3 click for higher resolution and to get a closer look at all the details! outfits from left to right: his gear for the evil within 2, 1am convenience store trip, his mobius gear, and an improvised outfit for my own fictional the evil within 3 =^)

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree;

@jacobseed, @swordcoasts

[lord-squiggletits]

Y'know the thing about writing feral/unhinged versions of Orion/Optimus, is that you can't go too far into the feral/unhinged direction to a point where OP's core character traits are lost or become too diminished. After all, in a multiple-continuity franchise like TF, part of what makes the stories make sense is that even if details change (sometimes major details), the characters are still recognizably themselves to one degree or another. (Although this isn't always the case due to executive meddling or some characters being such blank slates from their initial G1 appearances that there's basically nothing to model them off of, but I digress.)

It's pretty much another reason why I love IDW1 Optimus, bc he literally is a canonical feral/unhinged Optimus who's unhinged as a direct consequence of who he is as a person and what he's been through. Like, he still has those fundamental character traits of trying his best to be moral and make good choices, trying to be a role model, etc, except after 4 million years of war and untreated depression he's basically holding onto his sense of self by his fingertips. So when he "goes feral" e.g. losing his temper and beating up/killing people or saying hurtful things, he's feral in a way that's directly tied to his normal personality and not just as a random quirk he has.

IDW OP's feral moments arise from the gaps between "Optimus' attempts to be who he thinks he needs to be" and "the reality of the world that he can't fix/seems to only make worse" that cause him to lose hope, or become cynical, or lose his temper. But in this case, the unhinged-ness makes perfect sense because it arises out of Optimus trying and failing to be the best person or to make the most morally good choices he's trying to make. Basically, the "feral/unhinged" label is just another way of me trying to say that he's not just unhinged because he's weird or because he's a bad person, but because it's an emotional reaction (more like an emotional explosion due to pent-up emotions) to the context he exists in.

I'd also say that IDW OP's personality being generally reserved/stoic and (trying to be) noble works in tandem with those moments he has of going feral because it makes him more realistic. His psyche is treated in a way where the writers are like, "Hey what if the pressure of having to be everyone's idol and be the best person in the galaxy at all times actually broke Optimus down mentally and emotionally?" It makes IDW OP far more relatable. Instead of naturally being a perfect Christ-like figure who never wavers in his morals or convictions and is just naturally a nice person who always has the wisest and best answer, being a good person is something that IDW OP has to consciously strive to be. Even when he feels like it's useless, or the cycle of violence will never stop, or any attempts he makes to help only ends up with things becoming worse.

And I feel like this does a service not only to IDW Optimus as a character, but also as a sort of moral/philosophical perspective for the reader to ponder upon? I feel like culture at large (or at least my experience of it) tends to believe that "goodness" in a person is simply an innate feature that people are born/not born with, and that being "good" means that you must be good at all times, both in your actions as well as the way you feel emotionally about yourself and the world. Like, there's a tendency for our vision of "a good person" to be good in every aspect at all times without having to try to be a good person. So I think IDW Optimus' character stands as a good example of how someone can be good at heart but still struggle to maintain those feelings of optimism and hope and justice. It's a good idea to have such a paragon of a character (in-universe and out-of-universe) be so conflicted and to even be mistaken, misguided, or make things worse because it shows that goodness is as much about "trying to behave/act in a way that is good" and not just "existing as an innately good person."

It's way more realistic for a person to want to be good, try to be good, and sometimes/often fail than it is for them to just be a good person. I enjoy the fact that IDW Optimus is both a good person at heart, but also has to strive to be a good person and live up to other people's expectations of what they see in him. I like how he wants to be a good person and change society for the better, but he also spends a good amount of time either feeling hopeless and alone or being angry at/detached from other people because of how frustrated they make him. He's realistically portrayed as someone who wants to be good and hopeful and change things for the better, but is also mentally and emotionally broken by that burden because of how impossible it is for him to Fix Everything and be the Perfect Prime/Leader/Autobot that people see him as. It's this fascinating mixture of "yes, this is who he is as a person" but also "there are things he desires to be that he could never possibly become or live up to."

This got really far off based from feral/unhinged Optimus sdklfjaslkdlfkas. The TLDR is that if people want unhinged OP, I feel like they should give IDW OP a chance because he IS unhinged but he's unhinged in a way that's a realistic/thematic representation of how being an Absolute Good is impossible. And how being a good person isn't just about Existing And You Are A Good Person, but rather goodness is a constant state of flux in which you adjust, you make mistakes, you lose your temper and feel hopeless, but then you pick yourself up and try again.

Also IDW OP really likes climbing in dangerous wilderness and jumping out of flying vehicles which I think is very feral and sexy of him to do.

[pekoeboo]

"you're not a monster, my dear boy. you did what you had to do."

ah yes - so nice of me to put Khalan through Repeat Trauma by forcing him to fight back against an undead version of someone he loves all over again 🫠 can't help it though. I crave the angst ><;;;

please do not remove caption or repost. also on deviantart

[juliets-roller-derby-awesomeness]

For the ao3 ask game :)

🍄 ⇢ share a head canon for one of your favourite ships or pairings

aaaa i have so many! here's one for each of my couples in psych

shawn & juliet:

shawn hides her makeup the day after so she can't hide her hickies.

gus & shawn:

they are both fundamentally opposed to labels. they never even talk about it, just tell people they're best friends and if anyone questions them they say their besties and they are. besties that have kissed and not just on a dare? yes. besties who adopted a dog together? yes. besties who lay all over each other while doing connections (well, gus does connections while shawn points out unhelpful observations in between rounds of maden)? yes. but they're not dating. they've never had """the conversation""" because both of them are just happy like this :)

juliet & carlton

qpr vibes only, but carlton is the little spoon and juliet brings it up in conversation with other people in a code only he knows to tease him ex: "yeah no he always goes in front of me... in crime scenes"

shawn & carlton:

low hanging fruit but they started as fuck buddies and still only say each others' last name in bed

[mustardyellowsunshine]

In today's episode of Shut Up Robin, Nobody Cares:

I finished Maison Ikkoku back in February, and I had a lot of feelings about the series. (It's good, do yourself a favor and go read it if you haven't.) As I read through it, I couldn't shake the thought: this is the caliber of romantic development Rumiko Takahashi can bring to the table?? We could've had this kind of relationship development in InuYasha??? 😭😭

The other thought I couldn't shake: InuYasha fans who still question the sincerity and depth of InuYasha's feelings for Kagome might benefit from reading Maison Ikkoku all the way to the end. They should read the final chapters of Maison Ikkoku, think for awhile about the blatant parallel themes found in InuYasha, and then try reevaluating InuKag's dynamic.

Now, I should clarify: I think the InuYasha series already makes it abundantly self-evident that the Inu/Kag/Kik "triangle" (🙄) is a complex situation that puts InuYasha in an extremely difficult position. (Well, it puts all of them in a difficult position, but you get the idea.) You just have to read the series with your brain on to see that. To review: teenage boy is tricked and terrorized by a demonic murderer; that demon successfully murders the boy's ex while masquerading as him; later his ex is revived from the dead against her will, wanders the earth as a vengeful spirit for awhile (who wouldn't be pissed about being brought back into that bullshit?), and is actively stalked by the demon who already murdered her once; teenage boy is falling in love with someone else when this happens, but he still wants to save his ex from being re-victimized by the demon who already brutally murdered her once. Anyone who sees that situation and describes it with a straight face as "InuYasha needs to make up his mind already" is probably never going to reconsider their assessment of InuYasha's character. They've already formed an opinion in defiance of the evidence. That ship done sailed.

But for some folks, I think experiencing the way Maison Ikkoku explores the same relationship themes—and particularly how it resolves those themes in the final chapters—could help them re-evaluate the emotional nuances in InuKag's relationship, and maybe help to re-contextualize the Inu/Kag/Kik conflict.

The parallels between Godai/Kyoko and InuYasha/Kagome are pretty obvious—Rumiko Takahashi consistently revisits this relationship dynamic in her work (it's present in Mao to a lesser extent). But I think Maison Ikkoku more directly confronts the emotional complexity of that dynamic. You can feel the difference in how RT more directly explores the messiness, complications, and pain of a) grieving a former relationship even while falling in love with someone else, and b) loving someone who is still tangled up in grieving their past. The InuYasha series obviously deals with those themes too, but Maison Ikkoku brings more focus and resolution to its exploration.

This may be for two reasons: 1) Maison Ikkoku had an older audience, as it was published in a seinen magazine geared for adult men between 18 - 40 years old, and 2) the relationship tension between Godai/Kyoko pretty much constitutes the main story of Maison Ikkoku; in InuYasha, the plot (such as it is) revolves around a vengeance quest and the monster of the week, and the relationship tensions between InuKag are second to that. Maybe that's why RT was more willing to get into the weeds with Godai/Kyoko and to more directly resolve the tension.

InuYasha does have some standout chapters where it explicitly deals with the tension of InuKag's situation (e.g., chapter 78, chapter 124, chapter 176, chapter 286, chapter 458, etc.), but there's this distinct hesitance in the narrative to resolve that tension in a substantive way. That's one of my beefs with the InuYasha series: it gives us moments of standout, concrete relationship development which then doesn't impact the future narrative all that much. The same relationship conflicts play out over and over again, well past their narrative expiration dates. See: Miroku flirting with women right in front of Sango after they've acknowledged feelings for each other; also the entire Kaō arc, which just... I do not understand the narrative purpose of that arc when it just exacerbates tensions that already existed and resolves none of them. Anyway. I digress.

You could argue this hesitance to permanently resolve relationship conflict comes from the episodic nature of InuYasha's storytelling. There's some truth to that, but that's not a satisfying explanation for why the main couple's relational status quo remains inert for the latter half of the series. Maison Ikkoku also does this to an extent—the "will they, won't they?" tension is strung along for as long as possible—but in general Maison Ikkoku does a better job of allowing relationship development to actually affect the narrative. Moments of emotional revelation and growth do change the relational status quo between Godai and Kyoko. They don't stay in quite the same relationship limbo that InuYasha and Kagome get stuck in for the latter half of the series. (It probably also helps that Maison Ikkoku is significantly shorter than InuYasha.)

All that to say: I think Godai/Kyoko is actually a useful mirror for examining InuKag, because they share the same themes and relationship dynamics without sharing the same narrative failings.

Okay, so: big time major spoilers ahead for Maison Ikkoku. Stop here if you don't want to see the conclusion of that series.

I want to look at how Maison Ikkoku's conclusion simultaneously revisits and resolves the main conflict between Godai/Kyoko.

Ahhhhhh my feelings!!! Man I love this series.

Okay, let's review the major takeaways from this scene:

• Notice how the tension between Godai and Kyoko—Godai's struggle with insecurity and Kyoko's feelings for her deceased husband—mirrors the tension between InuKag. And notice that the reader is encouraged to sympathize with both Godai and Kyoko. Godai is not "at fault" for struggling with insecurity and feelings of jealousy. That's a natural human feeling to have, especially in a relationship that hasn't been anywhere near secure until very recently. And despite whatever jealousy or inadequacy he may be feeling, Godai tries to see things from Kyoko's perspective. Part of Godai's struggle—the heartache of it—is his understanding that Kyoko is also not at fault. It's not her fault that she married before she ever met Godai, it's not her fault her husband died, and it's not her fault that she's struggling with the grief of that tragedy. She's trying to reorient herself to her new life after loss; she's falling in love with Godai, but she's also scared of betraying her husband's memory. (Let's hold that mirror up to InuYasha now, shall we? SHALL WE?) Moving on from Soichiro emotionally represents to Kyoko a breach of duty to a loved one.

• To reiterate: neither Godai nor Kyoko are "at fault" in this situation. That's precisely why it's a tragedy. They both have to process painful, messy feelings; both their feelings are valid and understandable. (Hold that mirror up to InuKag, girl. HOLD IT UP.)

• Notice how Godai explicitly acknowledges that loving Kyoko means loving the Kyoko who once loved Soichiro. "On the day I met Kyoko, you were already within her. That's the Kyoko I fell in love with." It's impossible to divorce Kyoko from her feelings for her former husband: that part of her life significantly shaped her into who she is. And I just love that Godai is hashing out his feelings at Soichiro's grave: it shows a sort of respect for Soichiro's memory, but more importantly it also shows that Godai knows his negative feelings can't ultimately be "fixed" by Kyoko. If she could fix them, he'd be having this conversation with her. (And by this point in the series they have had this conversation.) But Godai knows he's the only one who can truly work through/resolve his insecurity—especially now, when Kyoko has already assured him that she loves him—and I love how the scene's setting subtly demonstrates that. Soichiro's ghost is haunting Godai's feelings, not Kyoko's, and Godai is trying to work through that with Soichiro himself. There's no love triangle to resolve here: what needs resolving is Godai's own feelings of inadequacy which no amount of assurance from Kyoko can ultimately "fix." This is his ghost to fight. (We get an echo of this kind of inner conflict in chapter 458 of InuYasha: Kagome directly wrestles with the "ghost" of Kikyo and struggles toward some resolution of her own insecurities.... Only for the Kaō arc to come along later and materially damage that resolution and character growth for no clear reason, BUT I DIGRESS.) And this scene shows that Godai wins that fight: he comes to understand that loving Kyoko has to include accepting her past. Kagome reaches a very similar understanding in chapters 175 and 176 of InuYasha.

• To reiterate: Maison Ikkoku's conclusion is not the resolution of a "love triangle." It's the resolution of a series-long conflict, which is completely different. In order for love triangles to work—to actually function as love triangles—two competing love interests have to be viable options. This is quite evidently not the case in Maison Ikkoku: Soichiro is dead at the start of the series. It's literally impossible for Kyoko to choose him in any meaningful way. RT blatantly acknowledges this early in the series when Kyoko's father-in-law tells her she has to live her life. I cannot stress enough how self-consciously the series is not about a love triangle between Godai/Kyoko/Soichiro. (Mitaka is another matter entirely, for a different post.) Rather, the series is about the damaging power of grief in our lives, the rocky and painfully non-linear journey to healing from that grief, and how messy, fraught, and ultimately profoundly beautiful it is to love another person for exactly who they are — past pain/trauma and all. (Please for the love of heaven hold that mirror up to InuKag.)

• No, you know what? I'm not leaving that at a parenthetical. I'm just gonna say it: exactly as Maison Ikkoku is not about a love triangle, InuYasha isn't either. For the same reasons as stated above, the Inu/Kag/Kik dynamic is not ultimately a love triangle because Kikyo is dead at the start of the series. And while her spirit is magically revived—in an altered/diminished form—she is still not truly alive. The story conspicuously communicates this: her body is literally created from decomposing bones and cannot sustain itself (she needs to consume souls—other deceased spirits—to remain animated), symbolically suggesting she is of the dead even as she walks among the living. This is a facsimile of life. RT is not subtle about this. Kikyo is a tragic and complex character whose arc can be interpreted in many ways, but I think it's fair to say that the series self-consciously represents her as a past which can't be recovered. The damage has been done. She is dead, time continues to move forward, and there's no reversing that. (That's, again, why it's a tragedy.) Even her resurrected body symbolically represents this reality via death imagery. Ergo, from the very start of the series—just as we see in Maison Ikkoku—Kikyo is not a truly viable option for InuYasha. He can't choose her in any meaningful way. To "choose" her would be to essentially choose death—abandonment of life—just as Kyoko choosing Soichiro would make her "a wife who hadn't died yet." Kikyo represents an irrecoverable past just as Soichiro does. And the main thematic trajectory of each series does not suggest that Kyoko/InuYasha should give up on life by choosing death — it suggests they should choose life. Godai and Kagome conspicuously represent life, the possibility of living into the future. (Kagome is literally from the future, that's how unsubtle RT is about this.)

(A quick aside while we're here: no, Kikyo's not being a viable option does nothing to diminish the sincerity of InuYasha's feelings for Kagome. Kagome is not a "second choice," for the love of God the series blatantly addresses that very thing many, many times—like it's right there y'all—and I have already written a long ass post about why Kagome's insecurity over InuYasha's feelings for her shouldn't be taken as gospel truth.)

So, rather than being an actual love triangle, I think the Inu/Kag/Kik dynamic is a complicated emotional landscape that explores the same themes Maison Ikkoku does: how grief and trauma affect our lives, how painful and messy it can be to heal from that grief, and that loving someone—choosing to take that mutual risk with them—means trusting that they mean it when they tell/show us they love us, and choosing to trust them more than our own insecurities.

It's just that Maison Ikkoku explores those themes a little better. 😅 Which is why I think it makes a good mirror for re-examining InuKag: all the same themes without all the narrative failings and missed opportunities. ✌🏼