#beat the living fuck out of me

[lostghoulie]

need someone to come cover me in bruises rn !!

[crustyfloor]

FUCK THEM UPPPPPPP TILL OH MY GODDDDDDDDDDD

The visuals of Till's splash art (in my humble opinion, the best one so far) is STUNNING. AND very interesting.

For Till specifically to cover All-In is an interesting message to give off, All-In is a song about freedom. A type of freedom that allows you to live confidently and freely, creating whatever type of world you want, the stage is yours, so make what you want of it. living confidently in YOUR OWN SKIN. And living freely "cause you only got one life to live"

Freedom is something Till fights for relentlessly, and confidence is a bravado, as by far the most uncontrolled and tested person in the cast, he still fights for his boundaries and self-expression even when he's punished, molded into something he's not, or beaten into obedience, tested far past the limit; he never loses his bite. A wild dog can never be tamed.

This is the cover that follows what becomes of Till after round 6, and still, in Till's all-in, he sounds so raw, pained, energized, and passionate desperation is evident. It's a contrast from HyunA's celebratory cheers and upbeat mood because Till isn't celebrating the idea of freedom; he's angrily proving to everyone, especially the aliens, that he isn't backing down yet and he'll still keep fighting and that he can fight for his own freedom.

Till's cover of All-in is truly the most powerful depiction of Till's fighting spirit, after everything he's gone through, the pain, the grief. It's all in his voice and the way he sings he's pained the entire time he sings and he's aggressive because the fire of his spirit is lit once again. He's going "all-in" so to speak and expressing himself.

The tape around his neck--

It's a contrast to HyunA who doesn't mind showing her brand, even proudly showing it off as a form of reclaiming her individualism.

Till is different. Because being reminded that he is and was once a pet is not something he would want to remember about himself, he will always bitterly try to distance himself from that fact in any way he can, HyunA feels free from the system when she can own it, but when Till sees his branding, he'll still always feel that collar. It's a testament to his self-deprecation, as long as the evidence of his past is present, and he still feels all the pain the aliens inflicted on him, It'd be presumptuous to think he'd ever feel like he can relate and fit in with the other "fools" who are so free.

It'd be presumptuous to think he'd ever feel free. That's what the aliens wanted, right?

Another interesting part of this is that the name 'All-in" is actually a real-life poker reference, to go "all-in" in poker is to voluntarily bet all of your remaining chips, there is nothing else you can do but hope for the best after that point (and hope you win).

When HyunA sings All-in, she deceives you into thinking she has the upper hand or good hand, and that she will win. When Till sings it, he's giving it all away recklessly, he's showing all he has. Basically, him saying fuck it. he doesn't know if he'll win or not but says, "Let's go all-in and risk it all anyways" Even if internally he knows that this is stupid and risky, this is his foolish rebellion.

At this point he has nothing to lose and nothing to gain, it's his final stand as he lets his heart out not for the crowd, but for the family he lost, himself, a form of self-expression. He will be so nervous, so aggrieved but it's the freest he will ever feel on that stage.

The color symbolism also drives me CRAZY.

For his other two splash art, he's been represented with a color close enough to teal. In both songs, he's open when he sings and fully serene. Teal is a generally calming color, and it's not too evocative. It's more emotional (and has it's own reservations)

And then, we have green, which is a general symbol of growth, new beginnings, and freshness. After all, Till has been through all-in is a sign of his growth. And a new era of his life, or in other words a sudden tonal shift from his depressive state in round 6.

And for my favorite (it's not.) part! the head shot, (interesting how his has nearly the biggest impact out of them all.)

A bit of a theory.

It's a bit similar to one particular art of him, he has a little shape that's almost akin to impact from a gunshot near the same area.

So, I think this is tell-tale symbolism for a future injury, but the gun portrayed is a bubble gun. I believe it is symbolism for the wound being non-fatal, so even if Till loses and gets shot, he'll survive, fundamentally changed. and will probably join the rebellion, too.

/side note

The heartbeats in Till's version of all-in are faster and louder than HyunA's version, similar to CURE.

[misstrashchan]

So. What's the opposite of a sacrifice?

With the final episode looming it's a question we've been turning in our heads, so I wanted to give my best guess/analysis as to what it might be before Jon and Muna come to tear our hearts out in the final episode.

This is the question Hayward asks Paige, and later Carpenter, and it seems to be the underlying thematic statement of the series, in response to Carpenter's exposition in the first episode of the Silt Verses that introduces us to the fundamentals of the world and system they live in:

CARPENTER:

A god must feed.

A god must be fed.

This is a fact agreed upon across every territory in the Peninsula. And so, really, the only difference between the people born to the water and the people born to the land...

...is the precise nature of the sacrifice we need to make.

There is a God for anything in their world as long as there is someone believing in it. But all Gods need human sacrifices. A god must feed. A god must be fed.

These simple rules have been used as fascinating and horrifying metaphors of our modern society, and to explore themes of faith and sacrifice throughout the story.

And so the final question the last season proposes is if we can find a way to make something better, that can exist outside of this ultimately unsustainable exploitative system and the harm it inflicts upon ourselves and the world, when it has come to define so much of the way we live and how we think. And that means figuring out the opposite of a sacrifice, if they want to kill the idea, the lie, that is at the heart of their world.

At first I thought the opposite of a sacrifice, of offering up to the gods, was about killing your gods. Starving them out. Refusing to offer up anything. And that is part of it, I think. I mean it's literally been a repeating mantra of multiple characters this season once they've reached they're breaking points. Violence in revolution as a tool to overthrow oppresive systems is sometimes needed and necessary. But what about after? What kind of future or vision for a better world can there be? There needs to be something at the heart of that movement that isn't just about violence against their opressors, because you then define yourself in relation to them.

This is even illustrated in the Many Below god Paige created having predator and prey emeshed together, a movement defined by their resistance against the predators of the world, the beasts, cannot seperate themselves to meaningfully create a better future that exists outside of that dichotomy. I think Hayward realises that even earlier in S2:

HAYWARD:

There’s a hare in the grass, half-buried and bloodied.

A barn owl has latched onto its back, its talons driving deep into the flesh of the hare.

Both animals are dead.

Familiar black stone veins protrude from the carcass of the victim, twisting like branches, driving upwards into the predator’s skin.

Hare and owl are locked together, inseparably.

The god must have struck just as the prey died.

White crocus is flowering up from the two entwined bodies.

(Unhappily)

And suddenly I begin to feel deeply afraid.

It all makes me think of a dormouse, dead in the dirt, its ribs showing. Of rabbits, teeth chattering, hungering from their cages

I kick dust up over the corpses. Nudge them aside into the long grass so they can’t be seen from the path.

Paige doesn’t need to know about this, I tell myself.

There’s no sense in worrying her. Not yet.

Which then makes sense why he's the one proposing the question of what the opposite of a sacrifice is to Paige (and Carpenter), for this very reason.

I think the answer is pretty simple and yet, like most simple truths in this world, it's forgotten and overlooked or twisted as naïve.

Preservation. The opposite of a sacrifice is preservation. To better explain this let me use an example:

If someone who cared about you tells you you're working too hard at your thankless job, sacrificing your sleep, your time, your personal relationships, your physical and mental wellbeing, far past the point considered sane, they'd tell you to stop. To make sure you take care of yourself. Instead of endlessly feeding yourself into a machine to justify your existence.

Applied to the world of the Silt Verses, it's not just self preservation and caring for yourself. It's about caring for, protecting, and preserving the lives of those around you, that is the ultimate act of rebellion and political warfare, the first steps forward towards a better world. Caring for humanity.

Whenever our characters reach a breaking point of turning against their gods, there's a common thread of wanting to save their fellow man, and realising the inadequacy of a god's ability to do that. Whether that's somebody close to them (like Faulkner and Paige):

Or humanity as a whole (VAL and Shrue):

SHRUE:

Use them, pass them on, do not forget the suffering that keeps the engines of this world turning, forget the name of your god and cherish the name of your neighbour that was swallowed up by it-

Cherish your neighbour. Be kinder to one another.

This can even go back to Carpenter's rejection of the Trawler-Man back in S1, her fury at the fact those she loved had been eaten (her family) and would continue to be eaten (Faulkner).

CARPENTER:

(Yelling to the river)

It's over between us, you twin mouthed prick!

Do you hear me?

Does that stir you from your torpor? Pry the barnacles loose from your sodden ears?

My father and mother were Gregory and Sandra Glass. My grandmother was Adalina Glass. My brother was Em.

They died for you.

Every single one of them died for you and they thought it meant something.

My name is Carpenter. And I am still alive!

I have loved you for so long. I have tried to know you for so, so much longer.

And I'm done with you. Here and now. I'm not laying down my life for you.

I'm not dying, do you hear?

The same breaking point for Faulkner at turning against his parish and finally snapping is the idea of Carpenter being offered as a sacrifice, an offering returned, begging for her to live.

I must clarify this is my own interpretation of the question and themes the story proposes. I'm

I'm not sure we'll actually get a hard answer so much as different characters offering their own answers and us as the audience encouraged to think for ourselves what it might be. I think this is what Hayward's answer might be at least, anyway, because like me he's a corny motherfucker:

If a sacrifice is the idea that the most meaningful and transformative thing you can do is to give up your life, your sense of self, to die, then the opposite of that would be to try to keep on living, and finding meaning and transformation in that, surely?

[storm-driver]

from here

[moongothic]

While I do believe it's likely the reason Dragon never contacted Croc after The Divorce was because things didn't go As Intended (/shit just went Bad) (or they kept their distance for security reasons, not wanting to risk being found out etc)

There is that Funny Alternative that the reason Dragon never contacted Crocodile and warned him about their son having become a pirate with a bounty and having entered the Grand Line, was because Dragon just assumed Crocodile would be able to recognize Luffy right away because "they're so similar" and that it'd be "a nice surprise" if they ran into each other

[mechieonu]

something about the togachako fight feels so PARTICULARLY vulnerable. the violence, the gore, the spitting, screaming honesty, the grief, oh my gosh, the GRIEF. toga realizing that jin is fading away at the same time ochako hugs her close has done horrible things to my brain. i just want to grab hori by the shoulders and shake and ask what the FUCK was the inspo for them

[timetravelstudies]

This got long and annoying so its under a cut now

The way in the fight w the museum director insul gets the same big injuries he has given trianon (so far), aand particularly the ones that T thinks back on often as specific sources of fear/humiliation/control (pepper sprayed in the eyes; kicked in the balls; choked with smth small and thin ((wire / car window)))….. im too tired to formulate a proper Thought abt this but the fact this all happens right in front of tjat one painting of dante & virgil in hell + insul and the director are in the exact same pose right as insul is about to die* is obviously so meant to evoke the idea of contrappasso….. at this stage trianon isnt “””strong””” enough (doesnt understand Insul enough and most importantly doesnt fully inhabit himself and his own strengths) to be able to pay back Insul’s violence (as he does later, though not in such a literal way anymore) so tje director will do for now🥰 bc they both need to descend into hell they both need to be subject to physical and psychological violence in order to strip down layers……. so its cool how the director serves that purpose for this phase 1 both in story for insul himself (who eats shit in this fight) and also as a sort of alert for the reader like make no mistake they are BOTH gonna get put thru the ringer. even the top has to wade through cocytus! or smth

[kiddokori]

eunyung baek goes off the grid in their mid twenties and haejoons like guys hes fine he’s unreachable all the time he’s probably on an impulse trip to europe or some crazy shit hes fine he’ll reach out he always does while at the same time frantically stalking all his socials to figure out where the hell eunyung went and calling people and getting with private investigators and then eunyung messages the group chat out of nowhere one day like “heyyyy im in france lmaoo sorry my phone died and i couldnt find the right charger in stores (˶◕‿◕˶✿)” and then haejoon puts a bounty on his head

[mooncalf87]

Slomo clip of me stopping, dropping and rolling because I am destroyed from the inside out

My favorite screenshots under the cut your honor

[slamminslamminmcgill]

hi i went to an orgy tonight and shoutout to the transmasc who did this shit to me you’re so nacho-coded

maybe teaser for chapter 4 of perrito who knows (it does exist i swear)

warning: petplay, bdsm, dubcon, free use, rimming mention, nacho varga is trans this is true vince gilligan told me

anatomical terms (for nacho lel): pussy, t-cock

Ignacio Varga.

Or just “Nacho”, according to the rest of the Salamancas, and “Nachito” to no one else but Lalo. He was the one person here that you knew nothing about. Hector and the twins had been discussed in passing; Tuco was in prison with you; and you were so familiar with Lalo that you knew what his butthole tasted like. Nacho? Nothing. Nothing beyond Lalo’s testimonial of “He’s cool. You’ll like him.” You wanted to take his word for it, but “cool” seemed like a bit of an understatement. He was a fucking Ice Queen. Hadn’t said a single goddamn word to you since he got here.

And yet Lalo gave him a leash.

That must have said something about his character. After all, Lalo wouldn’t dream of putting his precious little fuckpuppy in harm’s way without a safeword. Shit, he must be more trustworthy than Tuco, since he’s allowed to be alone with you. Or at the very least, he’s not a reckless cokehead.

You didn’t think he was going to take you up on your services. You figured he was going to spend his week at the hacienda rolling his eyes and keeping to himself. But eventually he surprised you.

He must’ve been watching you, hiding in the shadows and waiting until you were by yourself in the bathroom. As you turned around to lock the door, a note slipped under it.

3 AM

Kitchen.

Be there alone.

-Nacho

Okay, sure, he likes his privacy. You figured that out already. Just to be safe, you showed the note to Lalo, who seemed positively giddy at the thought.

“Ooh, nice! ¡Muy caliente, jaja! (Very hot, haha!) You crazy kids have fun, alright? Let me know how it goes.”

Alright. Have fun. That was probably doable, unless Nacho’s dick game was abysmal. You were facing a best case fun, worst case boredom scenario. No big deal. You could handle that.

The clock struck 3 and you made your way downstairs, your collar jingling with each step. When you arrived, Nacho was already leaning against the fridge, the chain-link threaded between his fingers. “Hey,” was the first time you heard his voice.

“Hey…” you croaked back.

“You gonna be okay if I put this on you?” He asked, tightening the leash in his fists.

“Yeah, uh, go for it.” You leaned forward and stuck your neck out, giving him a clear shot of where to clip the leash.

Nacho clicked it to you, and with that he had your entire being under his control, at his mercy and his alone. He took a moment of silence to soak it in, to savor and honor this feeling of domination.

And then he dragged you down the hallway to the bathroom.

Nacho pushed you in and followed closely behind, locking the door behind himself. “Sit,” he commanded of you.

You instantly dropped to your knees like a good boy. Such a good boy. Who’s a good boy? You’re a good boy. Good doggy.

“Good boy,” Nacho reiterated, slipping his hand through the loop at the end of the leash. He went to undo his belt, then his jeans. He tugged those down, and then his underwear…

Holy shit…

How did you not see that coming?

The mere sight of it stunned you like a flashbang.

It just so happened that Ignacio Varga, Nacho, “Nachito”, had a pussy.

And the biggest t-cock you’d ever seen.

And you barely had a chance to gasp before your face was being smushed into it.

[skrunksthatwunk]

idk if i've discussed it before (i have certainly THOUGHT about it) but someone on my kuwa suffering ep 89 comp mentioned it and i just had to go off about it like. ok. sensui tells yusuke something along the lines of "you heard itsuki" when itsuki's inside the uraotoko, implying that not only can sensui hear those inside the uraotoko, but that he expects yusuke to be able to as well. which means that yusuke Almost Certainly Heard And Kind Of Ignored kuwabara's prolonged mental breakdown and wailing about how much he needs yusuke to live etc. which. guHHH i hate him yusuke you ass but also listen.

the only acknowledgement yusuke gives to this (if any) is when he says something like "sensui you're sooo fucking cooked this plan's going perfectly (my friends are going to get strong and kill you when i die)." he's trash talking to sensui, ignoring the others because, i think, he doesn't want to acknowledge what he's doing to them.

yusuke is explicitly recreating the experience he had with kuwabara's "death" at the hands of toguro, complete with the announcement of intent (and power) to kill, the inability to impede the threat in any way (barring a power-breakthrough), and the target in some way racing towards/volunteering for their death. yusuke learns through doing, and through tough love-style approaches. it's only effective if it hurts. watching kuwabara die like that was devastating to yusuke, but it sure as hell fucking worked. he beat toguro because of that maneuver. so even if he has to (re-)traumatize his friends in the process, this method will make his friends stronger, and he feels confident in that. but he never had to live with the consequences of kuwabara's death, not really. that's something hiei makes clear before they enter the cave as well, that there are no fake-outs ready to make him or anyone else stronger. the only deaths here will be real. the only power gained will come at a high, permanent cost. hiei's warning is an attempt to keep everyone alive, to keep yusuke from being stupid. and then yusuke decides to take that fatality into his own hands, but it's kind of his friends who would pay the price. he's going to make them live through the days, months, years without him, the actual permanency of loss (assuming they survive for that long), something he never experienced with kuwabara (a new facet of that traumatic scenario), AND he's escaping the emotional fallout of this choice through death. he doesn't have to see them mourn, won't get yelled at, won't watch them fail to move on. he's tapping out and choosing to believe they'll be fine.

but i think he feels guilty. just a little. i mean, yusuke couldn't even believe that people cared about him enough to want him alive in episode one. he's staked everything on his friends, which means he still kind of... doesn't value his own life, at least not compared to theirs. but he believes his friends love him and want him around, and we know that because he has to, or else he wouldn't make a plan that depends entirely on that love. he is actively leveraging the care he doesn't think he deserves, trying to hurt them in a way he is intimately familiar with (only worse), for.... what, exactly?

this is kind of my sticking point tbh. i don't think the answer is... super clear, but let's start with what it's not.

yusuke is not doing this because it is the most practical way to save all of humanity; that would be the mafukan, which he stopped. it could be a gamble to save all of his friends? the mafukan strategy would guarantee koenma's death/eternal imprisonment, whereas this strategy gambles all of humanity on the chance that his friends come out of the Easy Break Oven strong enough to avert the end of the world. if the sacrifice of even one friend is completely intolerable, perhaps he'd accept those slim odds and their steep consequences. yusuke tends to take risks like that, especially when he's got fight-induced tunnel vision. he doesn't think things through too much; his schemes are usually dependent on surprising his enemy enough to oneshot them. truthfully, i think this is the closest we'll get to an answer, and it's a more conventional one for this kind of story. but there is another layer i haven't been able to get from my mind.

i think yusuke is gifting each of his friends an honorable warrior's death.

so, in case it needs saying, yusuke, kuwabara, kurama, and hiei all (at least once, if not several times) exhibit a desire to die in combat in a way they deem noble to give their lives purpose (usually by self-sacrifice, but sometimes by another metric of honor, like hiei's duel with shigure and his desire to die in mutual defeat against an evenly matched opponent; or even kurama's decision to fight shigure in his human form, displaying a sort of passive suicidality via placing being true to himself in this (somewhat symbolic/inconsequential) way over survival). they need to make their lives count for something, because they feel guilty for being alive (kurama and hiei feel guilty for their past actions (hiei's is most evident in his distance from yukina, though that's not its primary reason), hiei, kuwabara, and yusuke have all been ostracized and made to feel like burdens on/unwanted by their caregivers and general society; all four of them have felt profound isolation even from their loved ones (yusuke and hiei are rather obvious; kurama can never tell his mother about the majority of his life nor what she truly means to him in the context of it; and kuwabara is separated from his peers for his spiritual awareness and his "stupidity" (plus his parents aren't around? and he is Desperate to define manhood/manliness through a broader pop cultural one which includes the warrior sacrifice thing bc he has no male role models BUT that's for another post) (i will admit kuwa's the most tenuous one here irt isolation)). they want to die for a cause so badly it's actually physically painful to me. it is passive suicidality, and they define their lives and identities by their relation to, engagement with, and skill at doing violence, etc. they live to die by the sword. anyway. nobody talks about it but i think it's very important to understanding what yusuke's doing here.

because i think he knows that about himself and his friends. they're kindred spirits. at the very least he knows this about kuwabara, who literally made a speech about this before diving into toguro's fingers In The Event That He Is Recreating Explicitly. he is dying nobly like they all want to on the chance that they'll get to break out and fight sensui rather than dying without even getting to take a swing. it's about his pride and theirs. but i don't think yusuke necessarily believes they'll win. he knows better than anyone how strong sensui is, and how wide the gap is between sensui and team urameshi. his stated position that humanity is doomed and that he doesn't care about its fate is, i think, not completely genuine, but if we take it at face value, he's not killing himself so that his friends can survive the end of the world. something's going to come around and kill them eventually. he's doing it so they can survive long enough to fight sensui. he needs them (specifically kuwabara) to be strong enough to free themselves to begin round two. but he's given up on their side winning, on humanity surviving, on his own victory---why should he think his friends are capable of winning? this could be another case of yusuke's fight-blinders. it could be another gamble, more blind faith put in his friends. but honestly it reads more to me that yusuke's giving them a chance to die together on the battlefield. them winning would be great, but it's not his goal. it's a pipe dream.

he knows he's going to be killed. they're probably going to be killed, too. but to make it so they last a little longer against sensui, to make the odds a little more even, so they are killed not like livestock, but like worthy fighters, he'd die a little faster. it's the best kind of death someone like them can have; and he'll deprive himself of it just to make their ends a little sweeter. even if the road to that is far more bitter.

but it's not like yusuke's friends know what he's thinking or agree to it, and he can't exactly make his case for it in the moment. he's making that choice for them. whatever his intentions, whatever odds he thinks they have of beating sensui, he's kind of sealing all of their fates. so how the hell is he supposed to acknowledge kuwabara screaming at him not to die, trying desperately to express what yusuke means to him in what could be their final moments together? this plan is going to hurt his friends terribly. it is already doing so, and he can hear it. his choices to stop koenma from using the mafukan and to die for his friends' strength are both selfish in some way, no matter how you read the scene. if yusuke comforts kuwabara, he might not get strong enough. if he twists the knife, well... how could he forgive himself? and either way by responding he would have to face them all and say yes, i'm doing this regardless of your feelings (with the intention of hurting you). so i think he does what he often does. he avoids it. he lets that emotion glance off him and his bravado and his one-liners so he doesn't have to deal with the fact that he's hurting people, that he's scared and guilty and unsure of himself. that he's about to die again, about to put kuwabara through the grief he saw at his wake again, only worse; about to put his quieter friends through something similar.

yusuke is confronted with the responsibility one has to the people who care for them, and he runs from it in an attempt to give them some small peace. just like when he died before and thought hey, at least my mom and keiko won't be burdened by me anymore. because the only thing he can really do for them is die.

[shannonsketches]

like why did they change where Vegeta was when Cell announced the cell games in the anime

why did they make this vegeta starting shit with yamcha instead of chillin in the lab with his family? why did they take Bulma out of the lab? Why'd they say she was Out while Dr Brief was repairing 16? Why did they change Bulma working on advanced robotics to running in late with her baby?

it's the same scene except: - Bulma's actively at work being a scientist - Vegeta's not being rude to her (or anyone else!) - Vegeta waits for Trunks instead of leaving the room - Cell interrupted the airwaves, which means Trunks and Vegeta were just hanging out with Bulma and Dr B while they were working

Those are all Great Character Details!! That the anime rails against!!

[godisasimp]

Do NOT go to the Moon at 3 am guys ❗❗❗❗

[cursed-tm]

[kandicon]

Actually I really wanna write a role reversal gerrymichael au and let me be so, so transparent when I say it is literally just bc I wanna fantasize about the tall, gangly blond man beating monsters to death

Everyone else has the same roles. Mary Keay is still Mary Keay in all her abusive and obsessive glory; Gertrude is still the Archivist.

Vaguely spiral aligned Michael who Does Not Like It. Pretends his connection is a hell of a lot looser than it is.

The only benefit (that Michael thinks of the Spiral) is how he can move around the Institute with relatively little interference and watch, after all, it is hard to behold something that is both nothing and everything and never was all at the same time.

Gerry ran away from home really young and actually succeeded. Spent a few years fucking around and learning what kind of benches are best to sleep on before applying to the Magnus Institute because that's what his dad did. He lied to hell and back on the application, but was hired quickly because of how thoroughly touched by the entities he was (thanks Mary) and Gertrude was running low on assistants. Gerry also felt completely justified in faking stuff and that he was perfectly qualified bc he grew up in a bookshop and how much different could it be (very different, as it turns out).

They first meet each other when Michael is prowling through artefact storage like it was a shopping mall, and pocketing everything he saw that didn't immediately mesmerize him. He was nervous and jumpy as all hell, even though this was not the first time he's done something similar and he's fairly certain Gertrude doesn't care, so when Gerry first spotted him from behind, he was immediately suspicious even before he saw Michael try to shove a lamp into his jacket pocket. This led to an altercation that eventually led to the lamp being accidentally turned on, Michael smashing it to pieces with a hammer Gerry had not realized Michael had, and Gerry suddenly being a lot more consciously aware of the supernatural than he was.

Gerry's mother was still obsessive over Lighteners, and she didn't make an effort to hide what she did, but she didn't actively try to educate Gerry on anything to do with the Fears. So he is fairly knowledgeable on the supernatural, but he doesn't know anything concrete about the Fears themselves and their categorization. The role of a stand by sacrifice instead of an errand boy and heir.

Michael still trusts Gertrude, but this time he knows he shouldn't and hates himself for it. Gerry wants to trust Gertrude, and she does hide him from anything Fears related and behaves around him like she did Michael in cannon, but he just feels something off about her and doesn't like it. She's just a bit too much like his mother for him to let his guard down.

Michael gets referred to by "it/its" pronouns once by Gerry as a teasing joke before Gerry fully knows what he is and is absolutely terrified by how happy the pronouns make his feel. (He thinks, maybe, that the Michael of his childhood liked something similar, too, but everything too far back is all twisted and he doesn't know what has been touched by the Spiral and what hasn't, so he doesn't trust any of it). He/it Michael ftw

At one point Michael just started putting black lipstick on himself because some of Gerry's always stuck to him when they kissed anyways n this gave them plausible deniability. Michael will never admit to the little spiral thrill it gives him when people do a double take upon seeing his face, the black lipstick contrasting literally everything else about his style.

Gabriel attempted to track Michael down exactly once, a few years before he joined the institute. He had heard about Michael's unsavory... Hobby... (<- reckless destruction of artefacts and throwing himself at all monsters and avatars he sees with a murderous rage regardless of their affiliation) but spiral avatars capable of holding a conversation are so few and far between and the Great Twisting was almost prepared, so he thought a meeting would be worth it. He showed up at a cafe Michael frequented one day expecting lovely, but tense, conversation, only to promptly lit on fire (mostly) in the back alley behind the cafe after he introduced himself. Gabriel survived, but some of his clay body still hardens unexpectedly or shows signs of firing from time to time.

Occasionally Michael's eyes will change colors and shapes, so he likes to put contacts in (he used to just use tinted glasses, but after one time of Gerry getting lost in his eyes in the far too literal, not at all romantic, sense, he decided to invest in smth a bit harder to take off and forget about). Unfortunately, this sometimes means other, very much not his original eyes will pop up around his body and in his hair as protest when he puts them in. It's not very fun to have to chase off eyes at 6am, but he does it regardless and complains the whole time about how he shouldn't have to deal with eyes when he very clearly isn't of The Eye.

Gerry: Oh hey you were running pretty late. I was starting to get worried.

Michael, not about to admit he spent an extra thirty minutes to get ready yelling and brandishing a lighter at a door that was following him around like a lost puppy: Ummmmmm I forgot my wallet. :((

[aubadeempress]

Is it wrong that I really want to make a Limbus Company OC based of Maria Clara from Noli Me Tangere?