#because he's a hero and that's what he does

[zoe-oneesama]

1. I really just don’t like how you shit on Chloe in your Au considering that she is technically the Main character now because of her having the ladybug earrings.

2. As for unlikable characters exist. Yeah they do but they usually don’t have a really good back story.

Thomas give her a sad backstory, took that away and made her worse ??? It makes no sense. Especially if it was supposed to be a unlikable character. her backstory isn’t an excuse for her actions but yall hate her for the actions and at the same time don’t want her to change.

(Not only that but he ended replacing her with a very boring and rushed character like Zoé.)

Basically what I’m saying it’s just weird for yall to hate a character that much.

I think it's really weird for y'all to be so defensive of a fictional person, yet here we are.

Perhaps you were mislead because her "hero" form was the title of the AU, but uh, Scarlet Lady was never about Chloe. That's why she didn't, like, grow or anything and why we left her several times to focus on Adrien and Marinette. Having the Ladybug Earrings does not automatically make someone the main character, she's the tritagonist at best. And canonically, she's just a side character with too much screen time.

But even if she was the main character, so what? Scarlet Lady's tone is comical, it was never going to go deep (except in the Finale, kinda) and Chloe was never going to get the 5 Hour Youtube Essay Deep Cut in Comic Form about the Wonderful Person She Had the Potential to Become that viewers like you seem to be craving so badly.

And we fundamentally disagree about Chloe's backstory. It's not a good backstory, it's pretty basic, not even entirely unique to Chloe in the very story it's stuck in, and removing it changes nothing about her or her personality and motivations in the long run. It's used as a weak excuse that's only brought up at random to the point where even canon doesn't buy it anymore.

Though I'm not sure why you think that unlikeable characters can't have sympathetic backstories, the point is usually that despite going through the worst and despite the fact that it's entirely possible if things were different for them that the character could've been someone entirely different (and therefore "likeable"), none of those things erase the things they've done or make them more likeable. It just makes them kinda sad on top of it.

But that doesn't really apply to Chloe since taking out her garbage birth giver still leaves her with Andre who did a good job ruining her all on his own.

Anyway, sorry for the rant, but to wrap it up, sorry you don't like how I do things around here, no one's keeping you here if you don't wanna be faced with it or whatever.

[alchemistc]

He's drunk when he sends it. Pissed because Buck won't just let this die. Tired of seeing his name flash across his screen, texts full of anger and sadness and hurt.

I suspect you've already met your last and it's not me he sends, and then turns off his phone and reaches for the bottle of whiskey on his top shelf.

---

If he'd been sober he would have known better. It's not even like it's been a pervasive thought - just an inkling at the start of things that seemed to be completely off base once he got to know everyone better, but looking back... He can see it. The built in life. The steadfast support. The knowledge that they'd always, always have each other's back. The kid who hero worshipped him.

The thing is he's fielding texts from Eddie, too, checking in and then circling around to being so goddamn judgmental that it's like they've coordinated their attacks to give Tommy no room to breathe.

He ended it to save himself from slipping so far under the surface he wouldn't make it back.

The fact that he's lost them both to his own fear is icing on the cake for the demon on his shoulder that keeps trying to remind him that once upon a time he'd fully thought Eddie and Buck were amicable exes.

---

He has to blink to figure out who's standing on his doorstep. The mustache is gone.

"If you meant who I think you mean, you're dumber than you look," Eddie says, and shoulders past Tommy before Tommy can even muster an affronted expression.

Tommy wanders after Eddie into his own kitchen, immediately annoyed that he looks more at home there than Tommy has felt in weeks. He'd gotten used to the loft - the space, the echoes, the lights of the city. The smell of his own aftershave on Buck's pillow.

They never spent much time here. The loft was closer - to Harbor, to the 118, to all the things in the city that tempted them out for a night. And staying at the loft meant he wouldn't have the echoes of Buck in every room, around every corner. (The echoes are in him, instead, and he still feels the absence like a lanced wound.) Tommy has always been good at making other people think he's good at putting distance between himself and them.

Eddie digs in a drawer, pulls out the bottle opener shaped like a cow and pops two tops. Holds one out for Tommy and scowls when Tommy wrinkles his nose at the Corona.

"Absolutely screw you if you think I'm driving halfway across town for you just to get the ones you like, right now."

Tommy can't argue that. He takes a drag and swallows. Stares. Is everyone else experiencing whiplash seeing him without the mustache? It looks fine but it'd taken so much fucking work to get used to it and now it's just gone. Clean shaven, an acre of skin he hasn't seen in months.

Tommy blinked and the entire world was different. Tommy freaked and the world changed.

"What are you doing here?"

Eddie's eyebrows both lift, a frank Are You Fucking Serious look on his face that makes Tommy want to take him to the mats and have it out in the garage instead of over beers.

"Buck may be spinning his wheels trying to figure out what the fuck you meant but I know damn well what you were implying."

That seems unlikely. Eddie always seems to be the last person to have a single clue what was going on, with Buck scraping in just before him. It's a tight race.

He used to find it charming.

(He absolutely does not still find it charming, he tells his heart, and wonders if he could hire some tiny asshole gnome to go stomp around in an atrium or two and get it to stop doing what it's doing. Fucking traitor.)

"Do you actually believe that, or is it some dumb excuse because you're terrified of being happy?"

Oh, that's fucking rich.

Tommy opens his mouth to tell him exactly that but Eddie just steamrolls right by him. "You don't have to point out the hypocrisy, jackass. I'm well aware of my own issues. Thing is - you're like, almost right. Buck does make me happy. Next to Chris there's no one else in the world I'd rather have by my side, rain or shine, good or bad. I love him. He's my person."

Tommy rolls his jaw. It's not a vindication to hear it.

"Except I'm not gay, Tommy. And I don't want that. I never have. And neither does Buck, just in case that argument was about to hit the airwaves."

"How do you know?"

Something sparks in the back of Eddie's eyes. Understanding. Triumph.

"You want an itemized list or a demonstration?"

Which is when Tommy knows he's stepped into an absolute minefield. No markers. Just free balling his way through a conversation that could explode with even the slightest pressure.

Eddie's got his phone out.

None of this is ideal.

When he looks up, his eyes land squarely on Tommy, who would like in this moment to be able to curl so far in on himself he gets sucked clean through the other side. "First of all, Buck may have just been improvising his entire journey of sexuality but for once I was trying to get ahead of the curve so that whole starry-eyed newly not straight vision you have of Buck is bullshit. You let him pull you along by the shirt strings for months without pressing pause and then you freak out when he thinks his speed and your speed are the same speed?"

This is feeling a whole lot like an ambush, now.

"Did you ever even try to slow him down?"

Tommy has some choice words that aren't remotely appropriate to say to someone who is at least tangentially still his friend, so he takes another swig of shitty beer. God, this shit is awful.

"You wanna know how I know I'm not his one? How I know he's not mine?"

Tommy really, really doesn't. Honestly he'd like to kick him out.

"Because he went at our friendship at the same warp speed pace he took your relationship and it never fucking scared me."

Proof in the pudding, for Tommy. He's not the sort of jackass who actually thinks he can make a different judgement call on someone else's sexuality than the one they've made themselves, but come on.

"Shannon's been dead for half a decade," Eddie says, voice dropping so suddenly Tommy feels it like an icy draft. "And maybe one day I'll make my peace with that. Maybe one day I'll get out from under it. The point is I've lost them both and the loss wasn't the goddamn same."

"Buck came back," Tommy argues.

Eddie scoffs. Wrinkles his nose. "Jeez, he wasn't kidding about how weird that sounds." His phone buzzes on the countertop, and Tommy wonders what the hell that look on his face means. "Don't change the subject. I'm not here to talk you into anything. I'm just here to drink a beer with you and tell you how goddamn stupid it is to think that an uncertain future with Evan Buckley isn't worth every second of terror it causes you."

"You don't know me as well as you think you do."

Eddie tips the bottle against his lips. Swallows. God, why hadn't Tommy just pursued the self-proclaimed straight guy for a couple weeks before he scratched the itch somewhere else and kept a friend, instead?

"Maybe." Eddie tips his head. "Maybe I do, though. Maybe in the months and months you were invited to all my mopey nights in with Buck and all the crazy crap we end up involved in at the station and all the times you couldn't shut up about him when he wasn't around and all the times I got to see you falling ass over teakettle for my best friend, I learned a fucking thing or two about Tommy Kinard." He wags his head back and forth. "Maybe."

"Is there a point to this?"

Eddie tips his eyes to his phone, and it's probably too late at this point for the suspicion to begin to creep in.

"I mostly just came to confront you about your completely off base bullshit excuses, but there's actually a pretty simple solution to at least one of your multitude of issues, so. Now we're waiting."

Tommy doesn't like the sound of that at all.

"Chris is mad at you, by the way."

It's a distraction. It's fully a - "Why is he mad at me?"

"I should actually thank you, because it's the first time he's actively talked to me in months," Eddie continues, like Tommy hadn't asked a question. "He's pissed because Buck is sad and there's literally nothing in the world that gets a rise out of the Diaz boys like sad Buck."

"You can just say you're pissed at me and go, Eddie."

"Oh I'm angry. Don't think I'm not. Mostly I'm just sad for you. You had six months to get to know Buck and never thought to yourself 'hes going to love me and it's going to hurt' until he skipped too far ahead in the program."

And that's - kind of the final straw. He's let Eddie get his licks in. He deserves it, he knows he does. Honestly it's a little cathartic to hear - to know exactly what Buck has spent his time dissecting post-Tommy. "That's all I ever thought about. Do you think I didn't know going in? I tried to put a stop to it before it even started and he just doubled down! Do you think for a second I wasn't viscously aware that I was setting myself up for -."

No. He's not gonna say it. He's not giving that to Eddie when he couldn't even give it to Ev-Buck. When he couldn't give it to Buck.

Eddie looks victorious anyway.

"And for six months you thought it was worth it."

"For six months I was too much of a coward to stop thinking about it."

Eddie drains the rest of his beer. "I'm not gonna lie. You screwed up pretty bad. Like. Astronomically bad. Giving up your location in a firefight bad."

Tommy does everything he can not to wince.

"It's salvageable, though. If you want it to be. If there's anything I know about Buck it's that second chances are his bread and butter." He's been dancing around saying anything of substance about Buck's feelings, in all of this, but the hints are there. As if the bouts of angry-depressive texts from Buck weren't clue enough.

"And what if it's not what I want?"

Eddie's eyes dart to his phone one more time. "Then you can make it a clean break in about ... three and a half minutes."

Tommy nearly tosses his beer across the room.

[hotvintagepoll]

Trying to get more into old movies because of this blog (I only know about half of these people and feel like a poser) do you have good recommendations on where to start or is it just a situation where you watch stuff and find what you like as you go?

you are not a poser <3 i myself am just here for the hotties.

here is my quick and dirty list of fun films to start with if you're new to old movies. and of course if you like one of these, do try to find more stuff as you go! there's no bad way to try out old movies.

(this list is not official and is SUPER quick. i'm tagging for content warnings where I can, but if I forgot something let me know.)

"I want to watch something SILLY!"

The Court Jester (Danny Kaye, Angela Lansbury, Glynis Johns, Basil Rathbone)—everyone in this movie is hot. everyone is in fancy medieval dress, which makes them hotter. everyone here is very silly. You can stream this on Hoopla, last time i checked, so you might be able to stream it through your library!

Chitty-Chitty Bang-Bang (Dick Van Dyke, Sally Ann Howes, Lionel Jeffries, Gert Frobe)—some people hate this movie and to them I say What Is Wrong With You. dick van dyke is a hot absent minded inventor who lives in a windmill with his two adorable children, his gorgeous sheepdog, and a grandfather who is categorically useless. it feels like the two films mary poppins (1964) and willy wonka (1971) had a baby and that baby was born on roller skates singing an old broadway showtune. this one has been showing up in some odd places lately—I think you can catch it on Tubi or Hoopla? It's definitely around.

Seven Brides for Seven Brothers (Jane Powell, Julie Newmar, Howard Keel, Russ Tamblyn)—my problematic fave. everytime i watch this i change my mind whether it's a sexist pile of garbage or a feminist paean, and fellas, today we're on the feminist paean bandwagon!! jane powell's millie is truly the star of the movie, she is the hero she drives the plot the narrative is on her side, and besides all that there are seven very hot men dancing next to her and six beautiful ladies making me bisexual. (on Tubi last I checked.)

The Duke Is Tops (Lena Horne, Laurence Criner)—I get a huge kick out of watching Laurence Criner and Ralph Cooper swindle everybody while also trying to put on a show; there's just something silly and sincere here, plus you get a ~musical extravaganza~ at the end when all is right as rain again. Free on YouTube I think?

"I want to watch something DRAMATIC that may make me FEEL SOMETHING."

Witness for the Prosecution (Marlene Dietrich, Tyrone Power, Elsa Lanchester)—I love a campy twisty turny mystery, don't you? :) I'm not going to talk about this one much because it's better to go in blind, but if you like Agatha Christie stories you'll probably like this.

To Be Or Not To Be (Carole Lombard, Jack Benny)—always relevant, always makes me laugh, also makes me cry. this takes place in poland during wwii so big tw for nazi imagery and mentions. (don't worry. this movie fucking hates nazis.)

Seven Samurai (Toshiro Mifune)—this one is Great Cinema™™™™™™™™™™™ for a goddamned reason

"I want to watch some stuff with the scrungles in it!"

Mr. Washington Goes to Town (Mantan Moreland)—I've been checking out more of Mantan Moreland's stuff because every time I see him in something I think he's delightful, and I really enjoyed this silly-spooky comedy. Does this story have a brain cell? No. Are the special effects and goofy slapstick fun? Yes. This is a fun example of an all-Black cast in a film that was made for Black audiences, and is a striking counterpoint to the stereotypical representation Black actors were given in white-targeted films, showing the enormous amount of talent and artistry the racist studios missed out on by excluding these actors. This is not A Great Film™ but it's still A Fun Time,™ with a goofy Laurel and Hardy type vibe. (It's free on Youtube.)

The Red Shoes (Robert Helpmann, Leonide Massine, Marius Goring)—hey kid, you wanna watch something fucked up? This movie is so fucked up. It's about ballet, it's about art, it's about technicolor, it's about dance and toxic relationships and making theatre and nightmares and ambition and death. A lot of these recs tend on the silly side (because I tend on the silly side) but this one is actually Serious Film and will definitely help you chat up Martin Scorsese should you ever meet him. Big content warning if you can't handle dark themes right now—this movie's pretty dark, not in the gore way but in the Haunting Creepy Image way. (it's also free on Tubi and Kanopy most of the time.)

The Invisible Man (Claude Rains)—my favorite of the vintage horror flicks and a great introduction to Most Dunked On Hot Vintage Man of All Time, Claude Rains. (it helps that you barely ever see him!) Very very silly but the special effects are just plain fun. (I think this is on Internet Archive in full?)

"Can I just get more hot people please?"

Flower Drum Song (James Shigeta, Nancy Kwan, Miyoshi Umeki, Jack Soo)—there are so many unbelievably hot people in this movie which is somehow very good (thanks to its cast) and also incredibly, horrifically bad (thanks to its white team of writers, directors, and producers). on the one hand, it's a mostly Asian cast in a big budget, beautifully designed MGM style musical! there's dream sequences, lots of fun dancing, crooning Rogers & Hammerstein cabaret moments, and just charm galore. it is also freighted with so. many orientalist assumptions and stereotypes, absolutely ridiculous shit that the writers ABSOLUTELY should have known better about in the 60s and nonetheless carried into this. this is a hard one to recommend because I loved this cast, and I loved seeing them in a context beyond the usual stereotypical bit parts so many of them frequently were limited to—yet the movie itself perpetuates so many stereotypes on its own it can be a hard one to watch, and I totally understand if it does not work for most people. tl;dr watch for Shigeta, Kwan, Umeki, and the others, but content warnings galore for one (really bad) case of yellowface casting, orientalist tropes, extremely stereotypical character types, etc. (On Tubi/Kanopy last I checked.)

Charade (Cary Grant, Audrey Hepburn, James Coburn)—this movie feels like a Hitchcock movie except I had a ton of fun watching it, which I can't always say for a Hitch film. (I told you my taste was bad.) This one is free on YouTube and thank god because Audrey wears a lot of Givenchy, Cary Grant wears spectacles and keeps almost dying, it's very exciting and thrilling and funny and sexy. I don't think there are any content warnings but it's been a minute since I watched it. (I should go watch it right now.)

The Big Sleep (Humphrey Bogart, Lauren Bacall)—they're so hot askjdljhjghladkghjksahkhgslkahgshskjhgsalhgsahgjh. i like this one a lot :)

[this is NOT A FULL LIST of all the hot vintage movies to start with but it might give you some starting places! i banged this out as quick as I could at 2 am, so apologies that it's sloppy and not perfect.]

[cherryredcheol]

shots, sugar!

tldr: just drink the shot? tf? a/n: i'm sorry i've been MIA. grad school literally sucks so bad. part 5 of this (does not need to be read in order)

“hyung~” mingyu was drunk, beyond drunk, and seungcheol knew exactly what he was going to ask of him before he even turned around with that dopey smile on his face, shot glass in hand. 

“no.” seungcheol was blunt, setting a hard limit. 

mingyu pouted, “you don't even know what i was going to ask.”

seungcheol gestured to the shot in the other man’s hand, “you were going to ask me to drink that for you since you keep losing these dumb games jeonghan is encouraging. and i’m not taking shots tonight, especially not yours. I don’t want to wake up with a hangover.”

mingyu’s pout deepened, “you really won’t take this for me?”

“nope.” seungcheol made sure the “p” sound really popped to drive his point home. 

“cheollie~” you were drunk, beyond drunk and seungcheol had been keeping an eye on you while you drank with his members. it seemed jeonghan had moved onto another innocent victim in his trickery and had set his sights on you. you’d lost a few drinking games in a row, downing shots one after the other and it sounded to seungcheol that you were at your limit. 

upon hearing you call for him, he came up behind you, warm hand on your waist. “yes, baby?”

you turned around and held out the small glass of clear liquor, “take this for me?”

seungcheol smiled, grabbing the shot glass and downing it, no problem. 

your eyes lit up, and you wrapped your arms around his waist, snuggling in closely to him. “cheollie, you’re my hero! jeonghan has been making me take shots all night because i keep losing these stupid games but really i think he’s doing it on purpose and he keeps changing the rules. it’s unfair cheollie. so i called you over here to tell him to knock it off. everyone is scared of my big, buff boyfriend.” 

he laughed, holding you tighter, “let’s talk to hannie, yeah? your big, buff boyfriend is here to protect his baby.”

[nov4-rocket5]

You didn’t actually read Watchmen at all if you think that’s the conclusion he “wanted” readers to come to. The final words of it are, “I leave it entirely in your hands.” Literally telling the reader to come to their own conclusions on what happens next, who was right, and what it all meant. The outcome Moore thought would be best and what other readers thought would be best and how they all differ is a feature, not a bug.

He doesn’t even “side” with Veidt. The guy’s Superhero persona is literally named after a poem about all a man’s accomplishments crumbling to dust in the wind. Suppose there might have been a reason Moore picked that name in particular for a character?

Moore may be more blunt in his disliking of Rorschach now, but he’s also the only person who’s really worth liking, and the character who’s mindset and psychology are dug into the most out of Watchmen’s cast. And while Rorschach is indeed a very sympathetic and pitiable character, he’s also heavily flawed. FFS, the dude brushes off his idol sexually assaulting someone as a “moral lapse” because Rorschach projects his need for a strong father figure onto people like The Comedian or President Truman.

Speaking of Truman, Rorschach spends a lot of his journal praising the guy, particularly for dropping the atomic bombs for the greater good. But when Ozymandias makes a big convoluted space squid and drops it on a city for the same reason, Rorschach very quickly changes his tune. When Rorschach’s own logic and morality plays out in front of him and in his city, he can’t stand it and changes his tune.

Now, Truman and Veidt’s actions and circumstances aren’t exactly the same, but the comparison between Ozy and Truman is about the public moral argument from the government that people like Rorshach believes, which is that is was a bad thing that had to be done to prevent even more bloodshed. In the much more intense Cold War of Watchmen, Ozy's logic is exactly the same as Truman's, he killed some to save a lot more. Circumstances are different but the moral argument is the same.

But for all of Rorschach’s flaws and hypocrisy, it just makes him and his actions all the more interesting to dissect compared to the other characters Watchmen follows.

Daniel is a superhero because birds and airplanes are neat. Laurie's there because her mom said so. Jon's there because of the government. Eddie wants to kill minorities for the epic win lolz. Rorschach's there because he has been the victim and no one helped him. It's why he does what he does even when there seems little point and the act is ultimately futile.

And that status as a victim is why he's the only one with the guts to tell Adrian to piss off. Jon, Dan, and Laurie can dismiss the deaths of millions in the name of the greater good, but Walter Kovacs can't, because he is those people.

Consider who dies in the blast. It's the Bernies. The lesbian couple. The shitty part of New York where Walter lives. Mrs. Sharip (who reminded Walter of his mother) and her children are very likely killed by Adrian's actions. These are people that Walter Kovacs saw every single day and now they're dismissed as suitable foundations for Adrian's plans.

And hey, once the Cold War is over and the Russians back off, what's the stop Veidt Industries from going global?

Walter is different from all the other characters because he's not a "hero". He's the victim. Being a working class, illegitimate abuse survivor in instrumental to his every action as Rorschach.

TL;DR: No, Moore didn’t side with Ozymandias or Rorschach, he just told a story and left it up to the readers on what it all meant.

[pricesprincess]

part two to this | angst | part three coming soon...

later that evening dinner was served and simone was bathed with her pjs on as she settled into the couch under a mountain of blankets holding her tablet while face timing simon who answered on the first ring with a smile that was reserved just for his little girl.

"hello, princess. i miss you already, are you all for bed?"

it hurt hearing simon talk so quietly like that and seeing him so torn up made your heart sink to your stomach and all the way down to your toes like a weight on fishing line. "i am! do you think you can you come over for dinner? mom made your favorite!" simone asked.

from where you stood in the kitchen you heard the silence fill the video call as you glanced down and sure enough you were making what you were so used too, even after months of the separation you were still doing things for him to make his life easier.

simon mulled the question over his head, and while he does respect you, his daughter wanted to see him and that came before anything.

"tell your mum i'll be there soon, i love you."

simone hung up her tablet and put it in her cubby before running to the kitchen, her lips tugged into a bright smile as she clapped her little hands together. "daddy is coming for dinner!" she announced.

when you and simon had separated she had asked if you still loved her daddy and without a second of hesitation you told her you always would no matter what but she was too young for the rest of it.

she came closer to stand by you, her arms wrapping around your legs as you bent down to kiss the top of her head earning a glare so similar to simon's. "my hair mommy! i want to look pretty for daddy!"

you couldn't help but chuckle a little and crouch down to her height as you took hold of her hands. "baby girl, you are the prettiest already to him, why don't you put on a dress then?" you suggested softly.

simone skipped off to her bedroom down the hallway as you finished up dinner feeling a soft flutter in your belly, like butterflies while you waited for your date to show up, but in this case it was your husband.

when he had flat out refused to sign the papers you thought about using one of the fighting moves on him that he showed you but instead you left your shared home with your daughter.

simon truly never felt like his nickname until the first night being alone without his girls giggling and doing each other's makeup, now it's just silence that keeps him awake, it was all overwhelming.

ten minutes later simone came strutting from her room complete in the princess attire, the glittering crown she wore matched the array of purples in the dress and the plastic shoes as well. "is he here yet?"

"not yet baby, i'm sure he will be soon though. do you still have that card for him?" you asked while setting the small dining room table up for three, the image was enough to make your heart flutter.

perhaps you and simon could work this out.

the card simone bought in the store as you shopped for dinner was something she hasn't been able to stop talking about since then nor could she stop bragging to everyone at the store about her dad.

she zoomed to her room then back to the kitchen holding the white envelope with a grin as she bounced back and forth unable to hide the excitement even though she just got done spending a weekend with simon, he truly was her hero and number one, same for you.

to pass time you cleaned up while simone got on her tablet to watch an episode of her show before asking you were simon was.

an hour passed and no calls or texts, dinner was now cold and you were irritated and disappointed. heating the food up you ate in silence with simone who kept glancing at the door with sad eyes.

you wanted to punch simon in the throat for getting her hopes up and you wondered what it was that kept him from coming over because you knew that him seeing simone was the most important thing to him.

another phone call and more unread texts later you finally helped simone out of her dress and into some pjs before tucking her into bed and reading a story. "why didn't daddy come? does he love us?"

her question made you tense as you perched on the side of her bed, simon and love could be like oil and water sometimes, his version of love was never something like this so he tried his best.

"of course, he does honey bug. i think he got caught up into something which happens, he loves you so very much sweet girl."

her blue eyes watered before flowing over down her cheeks as she clutched the rainbow teddybear simon gave her a few months ago.

even at her tender young age simone was beyond smart.

"why can't daddy live with us?" her question wasn't aimed to hurt but you could feel the physical pain bloom in your chest then your throat formed a lump as you fought back the tears as well.

you cleared your throat and brushed her hair back. "it's a lot baby, ok? just get some rest and tomorrow is a new day." you told her and kissed the top of her head before standing up.

making sure her nightlight was turned on you had to fight off the torrent of tears that threatened to break like a dam as you listened to simone sniffle and bury herself deeper under her blankets.

once the door shut with a soft click you quickly made it to the living room and tapped at the screen, each one a flame adding to the raging fire building inside you from simone being stood up.

as much as you hated to say it you were used to it, from the beginning of the relationship there were enough missed dates and anniversaries to fill years old calendar you were sure but you love simon enough to over look all of that, none of it mattered.

that is until you had simone and while it was just you at first you couldn't stand to see your daughter go through the same feelings or have consuming thoughts of whether he'll come or not.

voicemail. again.

you dropped on the couch and rubbed your face before dialing john's number.

voicemail.

soap, same thing.

taking a steadying breath you pushed aside the what-ifs that you've battled for years and tried to keep calm. why the hell isn't he answering his phone? you kept repeating over and over again.

then finally, kyle answered.

"kyle...hi, do you know where simon is?" you asked immediately, not even giving the man to say hello or anything, suddenly your mouth went dry waiting for his answer. "kyle? hello?" you pressed again.

[puppetwoman17]

Let’s talk about what aging would do to Billy’s perception of how he’s acting toward other heroes when he’s taking care of them(yes this is dad Marvel I’m feeding yall today).

When Billy was younger, he just wanted to help. Of course, that doesn’t alter anyone���s perception of Cap as a dad figure, but Billy wasn’t actively trying to take care OF them. All he’s doing is trying to be a helping hand. Someone to listen to others when they just need a good vent.

In his perspective, all he’s doing is being a good friend. Not a mentor, or an older brother, or anything akin to that. Of course, that doesn’t make a difference for younger heroes(or, heroes who perceive themselves as younger than Cap). Or even for some of his League coworkers. Because all of that care is coming from someone who they don’t really know the age of.

He could be in his thirties, or he could be thousands of years old, or he could even be just eleven, manifesting out of pure magic, and with that wisdom.

It’s only as Billy grows older, I’m thinking somewhere between high school junior-college freshman, that he actively starts thinking of himself as that mentor figure. Or, he starts thinking of what he DOES to heroes as being a mentor/older brother figure.

And once he feels more comfortable leaning into that, that’s when he starts reciprocating the affection given to him. I’m talking him saying “I’m proud of you” with that fatherly tone. Him deciding to give hugs instead of others always having to ask(ofc he asks first, our boy cares about consent). And yes, him going as a substitute for parent teacher conferences.

For Billy, it’s always been about being a better parental figure than the many adults who let him down. It’s about learning the dos from his parents and the don’ts from Ebenezer.

Now all the “best dad/brother” mugs make so much sense. Raven following him sometimes. Clark asking for advice on how to handle Jon and rekindle things with Kon. Tbh he feels kind of stupid for not realizing how people thought of him sooner.

Of course, this only amplifies his refusal to reveal his identity. Sheesh, he was gonna introduce himself on Christmas, but what would they all think now?

It’s a complicated thought process of “They deserve to know if I have such an important place in their lives” and “but what if I lose all that respect and relationship?” and “but that would be selfish of me to want to keep that.”

The thought that they might still accept and love him never crosses his mind because no matter how self aware he gets, Billy will always be clueless when it comes to how people perceive him(aka yes, Billy, you are lovable—No, Billy, no one is using you for money, you don’t have that).

[perksofbeingahalfie]

Touya wanted to be a hero, to beat all might and surpass him. he was passionate about his goal from day one. he fought every day to keep that dream from slipping through his fingers. he fights fire with fire, taking Endeavor head on with aggression and passion and zeal. after all, anger is a secondary emotion, fear is what lies underneath. his driving motivation, the thing literally keeping his body alive and going was his hate. he burns himself alive, and then still says there are so many more arguments he wanted to have.

Fuyumi is the fawn. a gentler soul. A techer of children. the only daughter forced into the role of mother. relegated down to her gender, the only thing keeping the house from falling apart after rei is gone. she rolls over and does the labor because there is nobody else to. appeases the judge, jury, and executioner in an attempt of a lesser sentence, less pain. the one who tries to patch things up, who hopes for a changed father, because that's what's she's had to do for years. fear is instinctual, and prey often bares their neck when confronted by a predator.

Natsuo runs. he is ignored and cast aside. he has nothing to fight for and nothing to fawn for, endeavor will never see him with value anyway. at least Fuyumi can play the roleof motherwife. what is he for? so he gets out of dodge as fast as he can. rarely goes home. is always the one to leave arguments, to storm off. separates himself from Endevour, the source of pain. and if he separates himself from him brother, then that's also what's been done for years. after all, anger is a secondary emotion.

Shouto freezes. fire bares down on him and he stands still. the product of everything that came before him and the expectation of the future, but always in the present. cool under pressure, he prefers to freeze others in place so they're immobilized rather than hurt. socially and emotionally stunted, often coming off as cold. only using his ice. being stubborn and unmoving in the face of fire. stuck in the house, weathering the fear. endurance is his fortitude because freezing is the only response that doesn't remove the source of fear, just waits for it to pass. he takes it all. frozen in place. the heat burned him, but it was the frost that caused the scar. but he's used to it. single out since birth and isolated since he was an infant, he doesn't have any normalcy. it's not until he's in a safe place with safe people that he can grow and change. that his fire is his, and his icy exterior starts to melt. that his motivation is no longer fear or anger-disguised fear, but something new completely for himself.

no because its that they're the fear responses. the todoroki children are all just the fear responses. touya is fight, natsuo is flight, shoto is freeze, and fuyumi is fawn. when you stare down abuse every day you have to react somehow, and they all just developed different methods of coping with it

[lazycats-stuff]

Hey cats, I was the one who sent you that anon that's alright with me, I don't mind but is an gen z reader yeeted to the dc verse be okay? I could picture Bruce almost growing white hair because of reader who is an epitome of ✨unhealthy coping mechanism✨

Oh yeah, a reader just yeeted in there... Some universe doing some shit and Bruce adopts him... While also losing his mind. I love it. Lets go. It's a bit short, but... I like it.

Summary: (Y/N) is Gen Z. Bruce is loosing his mind.

Warnings: unhealthy coping mechanisms, Gen Z ones at that.

Bruce knew that each generation is different. They have different opinions, don't like to be told what to do exactly, although that's more specific to the newer generations. That is something that Bruce knew all to well. Gen Z wanting to have a balance between work and personal business. Bruce could respect that. But one other thing that shocked Bruce about Gen Z is the fact they have so many unhealthy coping mechanisms.

How would Bruce know?

He has adopted a teen who simply got, according to Jason and other younger heroes, yeeted into their universe. Universe where Justice League and it's heroes are real. And where DC comic universe is real. (Y/N) was forced to explain to the entire Justice League what DC is, what does it contain. And that has only applied to comic books. Then he had to explain cartoons, movies, video games... Absolutely everything.

Bruce found it to be interesting, the entire multiverse essentially, all of them are carefully planned out... Bruce found them to also be a great source of information. What to avoid, what to do... It was an incredible well of information and has decided to investigate this even more.

And while doing so, keep (Y/N) close to make sure that he has the information he needs.

And while (Y/N) is a nice kid, he has some unhealthy... Coping mechanisms as he calls them.

First one being jokes. Humor is something that can help a person if they feel down. Or if they simply want to deflect. And (Y/N)'s sense of humor is rather... Dark, to say the very least. Bruce would more often than not get gray hairs if he heard (Y/N) joking about his will to live being gone. He knows that (Y/N) is not suicidal... Right?

Humor is simply used to deflect... Right?

Bruce didn't quite like how (Y/N) was chronically online. Sure, teens spend time on their phone, but this is borderline an addiction. Bruce has tried to solve the problem with putting restrictions, taking the phone away. Put settings that don't allow (Y/N) to be online from certain times. That was to try to make (Y/N) sleep better, since he's clearly online into the late hours of the night.

Bruce simply wants the only child in the house who is not on patrol to have a normal sleeping schedule. Is that a crazy thing to ask for? It should be a normal thing to ask for, right? Being chronically online is far from good. Far, far, from good.

Also, hyper fixation.

(Y/N) was more invested in fiction rather than reality. Which would be fine. If it didn't interfere with his life. In what way, I might hear you asking? He's been neglecting his hygiene, gets angsty and anxious if he is not near his hyper fixation. Bruce never knew that Gen Z is this... Bruce shouldn't say annoying, but this was getting out of hand. Rather fast.

Bruce had to take action.

Otherwise he would get a lot more grey hairs. Way more. Way more.

" (Y/N), go to sleep. " Bruce pleaded, suited up and ready to go on patrol, however, he can't go, knowing that (Y/N) won't go to sleep. And everyone needs their 7 to 9 hours of sleep. Besides Bruce and the boys that are... On their night job. To put it mildly.

" I'm not tired Bruce. "

A common response in the most recent days from (Y/N) to Bruce.

" I swear to God, I'll sedate you with ketamine if you don't go to sleep. I'll knock you out with it to the point you'll be sleeping for days. " Bruce threatened and then came the infamous two words.

Alright, bet.

Bruce was seeing red at the mere thought of those words. They were both taunting and dismissive. Not something to be saying to an already stressed father anyway. And while Bruce has grown to love (Y/N) as his son, he was going to lose his mind with him.

" Alright, here's a deal. You go to sleep and sleep through the night and I'll take you to see your favorite artist. "

(Y/N) tilted his head, frowning.

" Promise? "

" I promise you. I swear it to you. I'll get you VIP tickets. I'll make sure to take you myself and pull strings. But for the love of God and everything else, go to sleep! "

[infinitelystrangemachinex]

Jayce and the fallacy of the butterfly effect in Arcane's narrative

If Jayce's symbol is the butterfly, then my theory is that we're going into a full "butterfly effect" narrative in Act 2. Either we'll watch it happen, or we'll only see Jayce come out the other side of it changed by the experience, knowing - or more importantly, THINKING he knows - what to do to change the future. Literally, to "defend tomorrow."

tl;dr: Jayce will encounter the butterfly effect in season 2. Viktor and Mel both foreshadowed this in season 1. I think Jayce will fixate on Viktor and will believe that stopping or changing Viktor either in the past or the present - most likely the present - will mean he can save the future. I believe this will lead to an even worse tragedy and may have the same effect as a self-fulfilling prophecy. Ekko's approach to changing the future by sticking closer to the present - considering only tiny increments of time to alter more immediate future outcomes - will be the superior approach. I also think that Jayce attempting to change the future will create the conditions that push Viktor to become the Machine Herald.

One of the most common reactions even the casual viewer had to Arcane season 1 was this: "If [character] had just done this one small thing a little differently, [tragic event] wouldn't have happened!"

Arcane has been called a Greek tragedy for the main reason that because of how well built up the characters' personalities and reasonings are, there's no other way season 1 could have gone. There was no stopping the multiple tragedies that occurred, because with one event leading to another, the chain of seemingly inevitable events goes too far back to identify what one singular event caused everything, what one character made what one decision to put our characters on the terrible paths they walked.

Arcane is about to investigate this idea in its own narrative, and I think that Jayce will be the character to stumble into the flawed idea that you can change one event, or stop one character, and change the future for the better. This is because Jayce struggles with a few very interesting character flaws, one of them being that he believes himself to be the main character, and it is therefore his responsibility to intervene, be a hero, and fix things.

Viktor and Mel both foreshadow Jayce's future encounter with the butterfly effect.

Recall that Viktor said: "There is always a choice."

Jayce sees choices in black and white, believes that he has no other options but to go along with what he's persuaded and pushed into, and acts too boldly with too much power multiple times.

Recall that Mel said: "We can't change what fate has in store for us, but we don't have to face it alone."

Jayce tries to solve big problems on his own, and though he delegates to Enforcers and the like, Jayce relies on his reasoning and his alone to make important decisions if he doesn't simply become persuaded - usually through strong emotions like fear - by other characters. In addition, since Mel is specifically talking about Viktor's plight here, it's worth mentioning that while Jayce did say that he would help Viktor in acts 2 and 3 of season 1, Jayce does wind up leaving Viktor to face his fate alone. When Jayce tries to change that fate in s2 ep1, ep2 shows that only tragedy can come of this as well.

Viktor and Mel's statements here are not contradictory. Viktor makes the point that you can always make a choice. In context, he's literally referring to the classic "secret third option," because given a choice between aggression and passivity, war and surrender, Viktor chooses to defuse the bomb instead. Mel, interestingly, seems to believe that destiny is fixed in a broad sense, and she operates as a politician and diplomat and investor who navigates that line of destiny in the most optimal way possible. In reality, in context, she is referring to the fact that Viktor can't change the way he was born and so he has no way to change his fate and therefore must face it, which is true - she's only missing the information that Viktor actually does have the means to change his illness and his body. Her wisdom still applies however, because he'll have to accept the hand that fate deals him after he makes that choice. Will he face it alone, or not?

There is always a choice, there's even secret third options, because having a fate doesn't mean that you are doomed to make only one possible series of choices. What it does mean is that each choice comes with a hand that fate deals you. It is impossible to know what all of these branching choices and consequences are in advance, and it is just as impossible in hindsight - the branches are too complex and the end outcomes are all equally meaningful, just different. If Arcane season 2 is to be a tragedy, it may show us that each possible outcome is still tragic if you fall for the fallacy of the butterfly effect.

Jayce is counseled by some of the wisest, cleverest characters with the deepest life experiences in Arcane, but he hardly ever takes that counsel to heart. If he does, he still acts on that counsel in flawed ways that have unintended consequences. This will come to a head in season 2.

Viktor and Jayce both have a butterfly following them around in season 1. The butterfly effect refers to one small seemingly insignificant event changing the course of history, and changing that event therefore changes history. Viktor bled over the railing of a Hexgate in season 1:

And Heimerdinger sees what we can only assume is Viktor's blood contaminating (?) the Hexgate in s2 ep3:

This might be the seemingly unimportant "inciting incident" that Jayce (and Heimerdinger and Ekko) settle on as something that should be avoided or erased by changing the past (if they time-travel with Ekko, for example).

I doubt that, if this is what this crew chooses to fixate on, it will be the only event that is considered as something to change. But let's take this and run with it for the sake of discussion.

As silly as it sounds, how do you stop Viktor from allowing his blood to come into contact with the arcane? Stop Viktor's involvement with the Academy entirely? Don't invent Hextech at all? But what if someone else invents Hextech besides Jayce? What if future tragedy befalls Piltover because it didn't invent Hextech?

The possibilities and what-ifs could branch on forever. But because Jayce is who he is, and because his tragedy with Viktor is still raw and recent and frightening, I think Jayce's butterfly effect experience will have to do with Viktor.

My personal prediction is that the timeskip between s2 ep3 and ep4 will be Jayce experiencing a timeline where Viktor, taken over by the Hexcore, brings about an apocalyptic event similar to what Heimerdinger experienced in his past. Either Jayce and co. can't go into the past to change the present, or Heimerdinger and/or Ekko advise strongly against it to avoid a paradox. This will lead to them re-entering the canon Arcane timeline before this apocalypse, but still after the timeskip. Jayce, believing that destroying Viktor and his cult will save the future, and believing that resurrecting Viktor was Jayce's mistake to fix, attacks him. But the consequences don't unfold the way he hopes, because trying to change fate once the cards have already been dealt has led to tragedy before.

The butterfly is a symbol of something other than just the butterfly effect - change, evolution, and rebirth. If the butterfly symbolizes the butterfly effect for Jayce, then I think it has a different meaning for Viktor - the change and rebirth meaning.

I've always found it very interesting that we see a similar-looking butterfly on Progress Day... but made of metal.

Every time Viktor's situation changes, he adapts and evolves. If Jayce attacks him, if his cult is destroyed, if the Hexcore is causing Viktor to decay, if all of these things happen at once - he'll just evolve again, and I think the Machine Herald is the next step. And the Machine Herald will be a triumph for Viktor, but Jayce will believe that he's created something even worse. The resulting feud will be a personal nightmare for both of them.

I think this still allows Viktor to use his own agency to choose to become the Machine Herald (the MH will probably be the "secret third option" that saves Viktor, or there will be a secret third option that ends the feud) while still allowing Jayce to be offended and horrified at whatever the Machine Herald represents or is trying to do in the undercity. Introducing the element of time travel allows Arcane to explore the meta concept of tragedy and fate that season 1 was built on while showing that you can't "solve" a tragedy, because there are other terrible possibilities lurking behind alternate choices. Especially if what you're trying to change is singular people or events and not systems of power.

This is why Ekko's approach with his Z-drive will be superior to Jayce's sweeping attempt at changing the future. Ekko's goal has always been societal change. He creates his own punk society in the undercity, more progressive and successful than anything Vander or Silco ever created, and a better bastion of safety, hope, and progress than what Heimerdinger founded in Piltover. Trying to change systems by going back in time is most likely futile. But taking what Ekko has already built in the Firelights, curing his tree, and fighting for the Firelights' survival bit by bit by optimizing the present with the Z-drive shows that:

It's more worth it to focus on becoming wise (Ekko's mask is an owl) and making choices you won't regret

It's best if you don't face your fate alone (act as a collective and take care of each other)

Consider every option, not just the obvious black and white choices

Maintain and fix what you've already built instead of abandoning it once things get difficult

Adapt as needed if the choices you made lead to dark consequences, and once again, stick together and take care of each other when the bad times do come

That's my Act 2 but, ultimately, my season 2 prediction based on the butterfly symbolism we've already seen. Ekko's involvement is what will give the series the at least partial happy ending that the creators have referred to. I personally don't think that the Viktor/Jayce feud will end quite so well, but maybe, they will still survive.

[4thewynne]

So... Sometimes the good guys do bad things. The Rebels are Terrorists, but they were fighting against tyranny. Another example of this is Mistborn: The Final Empire. The main character, Kelsier, a thief that leads a rebellion against the Lord Ruler thousand years of rule that kept people in slavery and a massive class divide. After escaping a Death Camp, he goes on a systematic controlled rampage, slowly destroying the whole power structure of the Lord Ruler's government, including murder, Lies, fear campaigns, espionage, back stabbing, and more... The guy is a terrorist. But on the side of right. It makes for a lot of interesting moral conversation around him too on what he does is right, wrong, or something else because he is painted as a hero but as the story goes on and you get outside views of him later, you see the more dark effects of his actions in the first book.

Brandon Sanderson put the prologue up here to read here

Here is a TTS reading the Prologue, though I suggest take the time to get the audiobook, Either the Graphic Audio version or the

Ofcourse, if you don't want to do your local library (WHICH YOU SHOULD, google it, they may have online downloads), you can always go to your favorite AUDIOBOOK BAY. FLavored site like Audioble or something to buy the book.

Seriously, support your local library, used book store, or other small business. They are important part of your community and value your business far more than Amazon.

The Galactic Empire: Our ethos and military doctrine is based on fear. We built a giant planet-destroyer to terrify the galaxy into submission.

James Cameron:

[2hoothoots]

saw this post in the tag earlier talking about how we never really get a detailed look inside Maligula’s mind, and it got me thinking about the themes of the game again so I’m gonna use it as a jumping-off point. because i agree, it’s very significant that we never get to really see Maligula/Lucrecia as she used to be! but i think that fact actually makes the game much stronger, especially on a thematic level.

Lucrecia’s presence haunts the narrative throughout Psychonauts 2. at first, we can only make her out through her absence. she’s the seventh stump around the campfire, the missing center of a torn photo. we see glimpses of her in the ruined fragments of Ford’s mind. in Helmut’s mind, she’s a looming specter, a shadow of the friend he once knew. in Gristol’s mind, she’s a celebrated war hero. and as the game goes on, we learn that everything in Psychonauts 1 – the Aquatos leaving Grulovia, the family ‘curse’, Raz running away to camp – all of that was set in motion because of her. she’s at the very center of the tragedy that PN2 revolves around.

and she does haunt the narrative, even if Nona is still alive. because the old Lucrecia – the real Lucrecia – we never get to meet her. she’s long gone.

the closest we come to actually interacting with Lucrecia, as she used to be, is in Cassie’s mind. while the rest of the Psychic 7 only have a few lines to share, paper Lucrecia has a full dialogue tree. this is probably one of my favourite moments in the whole game. there’s an awe in Raz’s face, getting to meet her, but also this palpable tension throughout the conversation.

(screenshots taken from here! if you don’t remember this conversation, or just want a refresher, i’d highly recommend going back to watch it.)

this dialogue tree is great. it’s funny, and subtle, and surprisingly moving. Raz is full of questions for Lucrecia, and Lucrecia isn’t giving much away, but we get glimpses of her story here that are so tantalising. it’s a fascinating window into the person she used to be: coy, and playful, and a little aloof.

but – this is also very clearly not Lucy. we hear Cassie’s own thoughts coming out of her mouth (“Cassie told us [hydraulic mining] was very bad for the environment, but nobody listened to her, as usual”), but her dialogue is also steeped in Cassie’s confusion, her struggle to understand what happened (“I don’t really know [why I murdered all those people]. I was the nicest person during my time at Green Needle Gulch”). this is the closest we ever get to seeing Lucrecia, face-to-face, but she’s still heavily filtered through someone else’s perception.

how much of this is the real Lucrecia, and how much of it is just how Cassie sees her? we’ll never know.

i think a crucial part of PN2’s themes is that perception – how you can be someone completely different to different people around you. everyone has their own version of the story to tell. the most obviously propagandistic is Gristol’s retelling, which comes as a shock twist at a climactic moment that throws the whole game on its head. here, we get to see the other side of the story, from someone who only ever knew Lucrecia as a protector, a general, a murderer – and thought she should stay that way.

(screenshots from here)

but as entrenched as he is in his narrative, Gristol doesn’t have all the answers, either. and Ford’s version of events, while probably more factually correct, is still steeped in his own biases. Ford was so dedicated to the memory of the woman he loved that he did terrible things for her; and when he tried to bury that memory, it was so deeply entrenched in his mind that it broke him.

(screenshot from here)

but note the wording, when he talks about using the Astralathe to “neutralise” the “problematic” parts of her mind. My Lucy.

something else that PN2 touches on is how experiences change you. after the battle against Maligula, the remaining members of the Psychic 7 become very different individuals. Cassie withdraws from the world, unable to return to normality after everything that happened; Compton becomes an anxious wreck without his support network. Bob is broken with grief after the loss of his husband, and Ford willingly shattered his mind because it was what he thought he had to do to keep Lucrecia safe. and throughout the game, Raz helps all of them – but he doesn’t fix them. he doesn’t undo everything they went through, because how could he? the things that happened will stay with each of them forever.

and it’s the same with Lucrecia. even after she lets go of the rage and grief and violence that Maligula carried with her, symbolically severing the threads that bind her to her past – she doesn’t just go back to her old self. because she’s someone different now, too. she’s a mother, and a grandmother, and she loves her family so truly and so deeply. she’s patched together a new life for herself. and that’s what she affirms to Raz, in the moments before the final fight.

and he loves her right back. even after everything he’s learned, she’s still his Nona.

i think sometimes a story is more satisfying for not giving you the easy answers. Psychonauts 2 leaves a lot of things unsaid. it gives you pieces of the puzzle, glimpses of Lucrecia’s story through other people’s eyes, and asks you to draw your own conclusions from that. and then it says: this is who she is now. this is what matters. and personally, i think it’s stronger for that.

[verdantwyrm]

On that topic though, I would like to touch more on the subject of Jimmy being also a victim to himself. I fear this might anger a lot of people, but Jimmy is an almost exact perfect example of someone with BPD (As someone with it myself) and how his spiralling is directly tied to Curly.

The game never once insinuates that Jimmy is like this because he's mentally ill, the line of him having it "hard" back on earth doesn't mean anything either, but it also means a lot coming from Curly. Curly is a representative of a Favorite person, and everything Jimmy did in the game, who he hurt, how he did it and the language he used, is very close to how real-life people with BPD sometimes treat their own FPs and the people around them.

They become erratic, jealous, driven by fear, apologetic, desperate and cling to everything and everything. Jimmy insults Curly, twists his words and makes him out the be the villain, he drives everyone away from him at the birthday party and spends months feeding lies to the others that Curly is the one that crashed the ship despite this lie not actually really benefitting Jimmy all that much in the long run.

Jimmy wanted to kill everyone on the ship, he could have lied and instead said that it was simply a fault of the ship, a miscalculation, an accident. Instead, he took every opportunity to make Curly out to be the one who ultimately decided that this was the best way to go about it, and then also blamed it on Curly's mental health dropping after being fired.

This is all extremely elaborate, and a very difficult lie to keep up with, as almost everyone on that ship has plenty of reasons to believe otherwise that Curly didn't crash the ship. What with Anya's psych eval of him being "the same as usual" and being sane enough to continue doing his job. Anya also trusted Curly enough to tell him about the pregnancy, and to also tell him about the gun. And even though it's not very well expressed in the game (possibly intentional since we are seeing through Jimmy's eyes.) She does trust Curly, and she probably continued to trust him even when all was wrong around her.

And Daisuke also has no real reason to distrust Curly, we don't know much about their relationship, but there was definitely a sense of trust and reliability between the both of them. This is also evident through Swansea and Curly, where Curly trusts him enough to hold onto the axe, despite being told to return it to the case as everything has to constantly run through him. He was taking risks, he was terrified of being abandoned, left behind in Curly's shadow. He was having fits of rage, outbursts of suicidal thoughts and harm to himself and to those around him.

Jimmy twisted and kept twisting that knife in an attempt to turn away everyone from Curly even when he was at his lowest to isolate and to make him cling to the only thing he had left; Jimmy.

This adds even more to Curly's eventual condition, being completely reliant on Jimmy, being completely subject to his will and power. And something that he even admitted to liking, he likes power. And he likes that the circumstances given, might not have turned out the best way, it gave Jimmy that power over Curly. Something he had been climbing for a long time, and something he so desperately wanted because he was sick and tired of hearing just how fantastic he was at something Jimmy wasn't.

And yet, despite all of this, Jimmy praised Curly. He hated how much he adored him, hated how much he idolised him. And even at the end of it all, his main focus was just Curly, making him out to be the hero of the story despite spending such a long time attempting to make him out to be the villain.

And then even further to make the situation out to be that he was also the hero of the story, that all of his actions were justified to some degree because it was all for Curly. He fixed it, he fixed everything for Curly. Because despite what he did to Anya, Swanse and Daisuke, his only real concern behind all of it was Curly.

Every hallucination leads to him, every goal, every path. He was so concerned with him, that even when it was directly in his face, the only apology he ever muttered was to Curly. Using Anya's words.

Our worst moments don't make us monsters.

Jimmy is a victim of only himself and the consequences of his own actions, and he is by far one of the better, unintentional examples of BPD.

[fairy-spring]

I’ve read over this essay several times over the past few weeks. It wasn’t because of a profound realization or anything, but more because with each successive read I was squinting my eyes harder and harder as I sat there thinking, “None of these words are in the bible.” I also had to dig around and find your proper, published essay from 2017, as this post is simply an abbreviated version of that publication which is missing essential points of your argument and kinda muddied the whole read for me.

You had another post in 2020 dabbling on Midna and Ganondorf’s interactions which, uh… I also had to read through several times.

I'm going to be courteous and put everything I mean to say under a read more, both for the sake of anyone who happens upon this post and for you, in case you don't feel a want or need to even look.

I think I have to start with tackling the crux of this essay: the thought that Ganondorf is gradually humanized during the entire four-phase battle with him, that Ganondorf was written as “an unquiet postcolonial ghost,” and that players are meant to experience, essentially, a hate crime.

“Throughout most of Twilight Princess, Ganondorf is characterized as a ruthless tribal warlord who attacked Hyrule because of his lust for power. As indicated by his monologues and gradual humanization over the course of the final battle, however, Ganondorf represents much more than simply an evil to be defeated. He is introduced to the player as a foolish man who became evil incarnate, and he does little more than scream in rage and pain when the player first sees him in a flashback. When he is allowed to speak for himself, however, he reveals himself to be highly intelligent with motivations that are not unsympathetic.” (The History of Light and Shadow)

While I do agree that Ganondorf may have motives rooted in the eradication of the Gerudo, the problem is that, in order to have this context, players must have played Ocarina of Time first.

Ocarina of Time really set in stone the animosity between the Gerudo and the other peoples of Hyrule, given how wearing the Gerudo mask evokes anything from townsfolk in Castle Town screaming in fear to Darunia straight up saying, “I hate the Gerudo!”

Without that context, however, any potential humanization in this aspect is lost, for lack of a better term.

I don’t know how else to explain that Wind Waker is masterful in its humanization of Ganondorf because it talks about Ocarina of Time. Ocarina of Time is the ghost haunting the narrative of Wind Waker. The game opens with a retelling of Ocarina of Time’s plot, Link is compared to the Hero of Time by elder deities such as the Deku Tree and Valoo, Daphnes constantly hammers in how Link was not chosen by the gods like OoT Link or even TP Link were, the boy has to hunt for the pieces of the Triforce of Courage that had shattered after the Hero of Time wound up in Termina, literally picking up the pieces the Hero of Time left behind! And when Link finally enters Hyrule Castle, what is there to greet him but the statue of the Hero of Time?

So, it makes perfect sense, then, that Ganondorf in Wind Waker would reflect on what led him up to this point. Of course he would think on his foiled plot, on the people he abandoned, the people who disappeared because of him. And of course, because he is so set in his ways and so stubbornly determined to fulfill his goal, Ganondorf wants not the Great Sea the goddesses left behind, but Hyrule. Because he’s always wanted Hyrule.

Perhaps more than any other game, The Legend of Zelda: The Wind Waker is the true sequel to The Legend of Zelda: Ocarina of Time.

In contrast, in The Legend of Zelda: Twilight Princess, the events of Ocarina of Time didn’t happen. Any reference to Ocarina of Time is referred to as “ancient,” as if hushed whispers from a distant past. While Wind Waker hammers Ocarina of Time over the player’s head with its plot beats, character interactions, and imagery, Twilight Princess functions more as an echo of Ocarina of Time. The gameplay is similar and Link bears a striking resemblance to the Hero of Time, but the game itself is largely separated from Ocarina, with Ganondorf as the enigmatic specter behind the scenes, a literal ghost story uttered by the petrified spirits of a forgotten age.

Because of this quiet refusal to discuss Ocarina of Time, players aren’t allowed to understand Ganondorf. It is why he feels so weakly written compared to his Adult Timeline counterpart. People in Hyrule today know nothing of the Gerudo. Link’s map refers to Gerudo Desert as “The Great Desert.” It is a forbidden place, only accessible via cannon as the main pathways are blocked off. The desert itself is empty, deprived of life or civilization, with the only places of note being a Sky Puzzle and the Cave of Ordeals.

It is a subtle horror, yes. The thought of an entire people, an entire culture and way of life being wiped off the face of the earth, erased by a country that refuses to discuss ancient sins and would rather focus on the everyday or on borderline cryptids like the Oocca is a poignant one. As you’ve said, it mirrors post-imperialist movements to censor or downplay unsavory moments in history, from American textbooks attempting to downplay slavery to Japanese efforts to wipe away thoughts of Korean comfort women.

But you need Ocarina of Time to understand it.

If any player is just as clueless as Link and going through this journey for the first time, Ganondorf is portrayed exactly the way the game wants him to be: as a menacing, power-hungry, evil man who puts himself above the gods themselves, given his defacing the effigies of the goddesses when Midna confronts him in Hyrule Castle’s throne room.

Furthermore, Ganondorf’s acts throughout the final battle do little to humanize him. In his first monologue, he:

Degrades Midna and her people and refers to them and the Fused Shadow as inferior beings and “petty magic”

Dangles Princess Zelda over Midna and Link's heads like a trophy

Puts himself on the same level as the goddesses by wielding one of their pieces and defacing the Royal Family’s images of them

Upon being met with defiance from Midna, then possesses Zelda as a means to personally hurt Midna and force Link to confront Zelda

credit for the above gifs goes to @hyrulehistoria on tumblr

On this last bullet in particular, it’s certainly… interesting that you stated this regarding Puppet Zelda:

“Ganondorf later possesses Zelda as a means of forcing Link to sheath his sword before a real battle can commence, and this hostage strategy is awful. Nevertheless, the bluntness of this ultimatum should have been effective. When Link proves that he will not hesitate to kill even Zelda herself, only then is Ganondorf overcome with rage.” (03/27/2020)

Whereas in actual gameplay, Link is incapable of harming Zelda’s body. The entire fight against Puppet Zelda is comprised of Dead Man’s Volley, where you’re turning Ganon’s magic against him and stunning him; or, simply evading Puppet Zelda’s attacks as Ganondorf has her flying sword first at you. During this entire fight, Link is unable to strike Zelda’s body with the Master Sword, nor can he fire an arrow at her. This first phase isn’t about killing Zelda; rather, it’s about incapacitating Ganondorf.

credit for above gifs goes to @sacredflames on tumblr

Link clearly shows visible relief when Midna squishes Ganondorf out of Zelda, I don’t know how you missed that one.

credit to @fuckyeahlink on tumblr

In phase two, Ganondorf doesn’t utter a word, instead morphing into Beast Ganon in an effort to destroy Link. When that doesn’t work, he enshrouds Hyrule Castle in twilight, where Link and Zelda would be incapable of battling Ganondorf directly. Midna then teleports the two out of Hyrule Castle and dons the Fused Shadow, facing Ganondorf alone.

When next we see Ganondorf, he is on horseback, and he has a new trophy: Midna’s helmet.

Everything up to this point paints Ganondorf as the “ruthless tribal warlord” the sages characterize him as. I genuinely don’t know how you saw Ganondorf explicitly regarding the Twili’s greatest power so lowly that he destroys it and practically tramples it with his ghost riders, and then said this:

“When we next see Ganondorf, he is holding Midna’s crown, which crumbles to dust in his hand. We think he’s killed Midna, but of course he hasn’t. Ganondorf has spared Midna’s life and obliterated the cursed artifact that transformed her into an uncontrollable monstrosity. This incident marks the last time we see Midna in her imp form, which means that the spell on her has now been lifted.

“Ganondorf has suffered through war, genocide, and unimaginable physical pain, yet he does not kill Midna, who has openly attempted to kill him. He takes the formidable weapon Midna has been assembling throughout the game and, instead of using it, destroys it.” (03/27/2020)

(Sidenote: Where on earth did you gather that the Fused Shadow is uncontrollable? Midna was simply inexperienced with it the first time she used its full potential, which is why she collapses after breaking the barrier surrounding Hyrule Castle. She used the Fused Shadow to squeeze Ganondorf out of Zelda’s body like a lemon, and seemed to have a perfectly good handle on it when using it to face Ganondorf alone.)

((Double sidenote: The very last time we see Midna in her imp form is after Ganondorf’s death, where she is sitting in Hyrule Field with the Light Spirits. That’s the whole reason why Link runs to her. Because the Light Spirits revived her. And they lifted her curse. Look, they even look at the camera like, “Heeeeeey, we got your girl~”))

((Did… Did you forget that?))

Just before the final phase of the battle, Ganondorf unsheathes his own blade, regarding Link’s as “impressive looking… but nothing more,” and then makes a declaration to “blot out the light forever.”

With his final words, Ganondorf hisses out, “Do not think this ends here… The history of light and shadow will be written in blood!”

You have interpreted these final utterings as a warning to Link and Princess Zelda:

“At the end of Twilight Princess, broken and defeated, Ganondorf still finds the strength to warn Zelda and Link about how a cycle of hatred has created a history ‘written in blood.’” (03/27/2020)

However, I choose to read it more as a final “Fuck you,” much in the same way that Demise’s curse in Skyward Sword could be read. However, both readings are mere speculation, not fact. We may never know the “true” meaning of Ganondorf’s words, which I quite like.

Now, I fully agree with the sentiment that, symbolically, Ganondorf is the ghost of the old world returning to terrorize a postcolonial country. However, at least in my interpretation, Ganondorf is not humanized by the game’s narrative. Any potential depth that Ganondorf has must be inferred, as according to plain text, he is simply the most evilest villain ever and must be stopped no matter what.

Is it the tired, racist stereotype of the barbaric, war-mongering brown man seeking to destroy the good and pure fragile kingdom? Yes, it very much is. It is sadly a very easy way for Nintendo to shorthand why Ganondorf is so evil and terrible and must be purged from this good and blessed nation. That said, I firmly believe that Ganondorf is portrayed exactly the way Nintendo wanted him to be: as an egotistical, self-righteous, manipulative man, who believes himself untouchable and deserving of Hyrule because he, too, was chosen by the gods.

Is there a hypocrisy to criticizing Ganondorf for holding godlike aspirations, when the descendants of the Goddess Hylia have held dominion over Hyrule for countless generations? Yes, there is. I won’t deny that. However, we must remember that Twilight Princess was released before Skyward Sword came along and did that; so, within the context of this game, Hyrule was just ruled by a royal family, not a goddess-blessed-mandate-of-heaven one.

All that aside, there is something else I need to mention, too: Why Midna shattered the Mirror of Twilight.

You have stated multiple times that Ganondorf’s death was wrongful, and it is that hate-filled death that makes Midna realize Hyrule has no place for people like Ganondorf or herself, which is why she chooses to shatter the mirror. You’ve also stated that Midna saw Link kill Ganondorf?

“… Link kills him anyway, and the cruelty of this act convinces Midna that it’s impossible for her to remain in Hyrule as an ethnic minority.” (10/20/2024)

“… but it is significant that this occurs immediately after she has witnessed the fight between Link and Ganondorf.” (… Light and Shadow)

Which, uh…

Midna was dead during that. I know a lot of people didn’t play Twilight Princess, so I need to reiterate: Midna was dead during that. She didn’t see that.

Even if she did, Midna literally wanted him dead five minutes ago. She declared to his face, “I will risk everything to deny you!” Why would Ganondorf’s death suddenly influence her to do something so drastic, if she wasn’t already thinking of this throughout the second half of the game?

I suppose there is a cryptic aspect to Midna’s final interaction with Link and Princess Zelda, wherein she states: “Light and shadow can’t mix, as we all know.”

Did Midna believe she will never belong in Hyrule? Did she, as you state, realize that “there is no room for ‘monsters’ in Hyrule[?]”

To land on this sentiment, however, is to forget a very literal aspect of Midna’s existence in Hyrule: Until she was blessed with light, whether it be from Zelda’s aspect or from the Light Spirits themselves, Midna physically could not live in Hyrule. In the first half of the game, when she isn’t in the twilight, Midna will retreat into Link’s shadow.

It’s the only place where she is safe; otherwise, the light will harm her. This is most evident when Zant turns the Light Spirit, Lanayru, against Midna, and the poor imp is hit with a full blast of concentrated light.

Like, the light literally almost killed her. It stands to reason that the other Twili would more than likely react the exact same way.

I guess in that way, you are correct. Midna quite literally does not belong in Hyrule, nor do the Twili. The thought is a heartbreaking one; to say that, biologically, you are the other. That you will never have a place here because you are built differently.

Along that same vein, though…

There… is room for monsters in Hyrule. For me to really bring this point home, I need to talk about the bulblins.

Now, bulblins are kind of your main goon in Twilight Princess. We have bokoblins and keese and deku babas, for sure, but bulblins are… different. From the moment we’re introduced to them, they are organized and coordinated. While bokoblins are shown as more “primitive” with their use of large clubs, bulblins have an array of weapons, from clubs with big old rocks attached to them, to riding on massive boars called bulbos to attack you whether on horseback or on the ground, to arrows that are dipped in oil and set ablaze. They literally set an oil trap for Wolf Link on the Bridge of Hylia and tried to burn him and Midna to death! Like… that’s so cool. Bulblins are so fucking cool, we never see monsters quite this intelligent ever again.

And I haven’t even brought up King Bulblin yet. Throughout the game, the leader of the bulblins is portrayed not as yet another monster to be eradicated, as we have with Zant and Ganondorf, but instead as a rival for Link. He jousts the boy twice on the Bridge of Eldin and the Bridge of Hylia, respectively; he battles Link just outside of the Arbiter’s Grounds with a giant axe, just after Link cleared out an entire camp of bulblins.

Is there something worth noting about the player aka Link killing all these monsters if they’re intelligent and sapient like people? Well, wouldn’t you kill a band of human thieves in Skyrim if they slighted you? Kidnapped your friends and family? Slaughtered your livestock and hung their horns over their giant gate as a personal taunt?

It is only after besting King Bulblin for the final time, in Hyrule Castle’s courtyard, that the leader finally concedes defeat, proclaiming, “I only follow the strongest!” He recognizes Link as an equal, and he agrees to back off. In the end credits, King Bulblin and his guys are riding around on their big old bulbos, no longer terrorizing innocent people.

Now, we could argue all day about whether they’re only allowed in Hyrule because Link one-upped them and these guys now consider themselves subservient to him. Regardless, the end credits show that even Bulblins belong in Hyrule. They, too, have a place here.

And if we go by Zelda’s final plea to Midna, so do the Twili.

“Shadow and light are two sides of the same coin… One cannot exist without the other. I know now why the goddesses left the Mirror of Twilight in this world. They left it because it was their design that we should meet. Yes… That is what I believe.”

But the thing is, Midna already made up her mind. She made up her mind a long time ago.

But that’s not good enough for you. Is it?

“… Midna's reactions over the course of the story deserve far more attention than simply taking what she says at face value.” (10/21/2024)

And as a fun little bonus round, I need to just say little things concerning your argument of Hyrule’s “slow apocalypse.” In your essay, you refer to Hyrule’s “eroding ruins and decaying ghost towns,” such as the Hidden Village, or Snowpeak Ruins, or the random little stone area just outside of Castle Town that houses a Sky Puzzle, as environmental suggestions of Hyrule’s gradual downfall. But to insinuate that the erasure of the Gerudo or the slaughtering of Ganondorf are primary symptoms of this decline would be disingenuous.

“Without the dynamic diversity symbolized by Ganondorf and the Gerudo, Hyrule is now in economic and political decline, isolated from any contact with the world beyond its borders.” (A Legend of Regret…, p.52)

“The people of Hyrule are entering the twilight of their civilization under the rule of an ineffectual leader that has not allowed its people to be revitalized by change and diversity… The potential for energetic dynamism represented by Ganondorf has been violently denied in favor of cultural and ideological purity…” (A Legend of Regret…, p.56)

Cultural exchange is actively happening in Hyrule during the game. The only place you can argue is truly “culturally pure” is Hyrule Castle Town itself, with people from all reaches of Hyrule integrating themselves into this “pure” culture one way or another. Everywhere else, however?

Renado, the leader of Kakariko Village, is outright stated to be proficient in treating both Gorons and Zora. Gorons are not only allowed to sell their hot spring water to residents in Castle Town, but are actually permitted to enter Hyrule Castle itself to sell their wares. Or, at least they were before the Twilight Invasion began. Malo’s business practices more than likely reflect Sera’s, given his upbringing in Ordon, and he then brings that frugal model into Castle Town, where the people rejoice.

credit to @roaxes on tumblr

Gorons taught Mayor Bo how to sumo, and in turn, Bo teaches Link. Even the yeti, Yeto, teaches Link how to snowboard to get to Snowpeak Ruins! You can then race him and his wife afterwards! The passing down of culture is at play in real time in this game!

I’d hardly say that Hyrule is in a state of decline. If anything, given such innovations as high-quality pictographs in places like Hena’s Fishing Hole, fully electric lighting in Castle Town’s Malo Mart, and advanced weaponry like Auru’s bazooka—as well as Hyrule’s apparent religious enlightenment, given that this is the most secular that we have ever seen the country—I’d argue that Twilight Princess’s Hyrule is actually on the cusp of an industrial revolution.

But those are just my own thoughts.

Also, ruins and ghost towns exist all over the real world. Roanoke Island, Nara Dreamland, Imber… There are countless examples. Sometimes a disaster befalls a town, and it’s easier to relocate than to start over where you were. Sometimes you can’t maintain a house and it gets abandoned. Sometimes an area is reclaimed by the government or the military. Sometimes a town dies out because its lifeblood runs dry, forcing residents to relocate elsewhere. Given the massive disparity between the rich and the poor in this game, this feels the more likely scenario.

Does that mean the real world is on the decline, too? I suppose that depends on who you ask.

And finally, as you’ve stated before, Link is what the game and the player dictate he be. You’ve tried stating in your essay that “if the gameplay demand that Link must defeat enemies in order to advance,” or that he “ransack ancient temples to progress,” then he is a killer and a “marauder.” (A Legend of Regret…, p. 54) However, that is to ignore the story once again.

The only temples Link arguably “ransacks” are the Arbiter’s Grounds, and the Temple of Time. Link is given permission to enter the Forest Temple, the Goron Mines, Lakebed Temple, Snowpeak Ruins, and the Twilight Realm. Link was even, debatably, given permission to uncover everything in the Temple of Time, as the ancient sages had instructed him to go there. The Arbiter’s Grounds is the dodgiest one to discuss, because nobody should be there. It’s a necessary evil, but to accuse Link of further desecrating a place Hyrule and Zant have already stained would be a hard pill to swallow.

And then we have the big one: The killing of Ganondorf.

Why was Link so cruel? Why wasn’t there a way to stop Ganondorf peacefully? Why couldn’t Link and Zelda just talk to Ganondorf, after he “[refrained] from taking control of the kingdom through conquest and murder, even though doing so would have been well within his abilities[?]” (03/27/2020)

I think we’re ignoring the fact that Ganondorf acted through Zant and killed countless Twili to achieve his goals. We see soldiers in Hyrule Castle, but how many more were there before the Twilight Invasion began? How many people died in Kakariko Village? What would have become of Ordon Village, or their children, had Link not awoken as the chosen hero? What would have become of the Twilight Realm, had Ganondorf not been content with only Hyrule?

If one man believes himself a god, and he is threatening the lives and wellbeing of not one realm, but two, then what choice does a boy chosen by the gods, by royals, by the people, have? Is it truly so monstrous? Do the ends justify the means? Is it cruelty? Salvation?

I don’t know. And neither do they.

Now, why did I bother writing this whole thing? What was the point?

Quite simply, since your first publication iterating these thoughts was back in 2017, and your most recent post in 2024 proclaims that Link is a murderer, it means that your interpretation of The Legend of Zelda: Twilight Princess is one that you’ve held for at least seven years, if not even longer. There’s nothing wrong with interpretation. The problem, however, is that you portray your take as “the correct one,” or the “big brained, deep one,” given how the thoughts you bring up in this first essay have been repeated by you again and again, whether it be the aforementioned “Link killing Ganondorf was an act of cruelty,” or “Why did Midna really shatter the Mirror of Twilight?”

And… The game already answered those questions. The game has already refuted your claims. You’ve just been ignoring it, and you’ve been encouraging everyone else to do the same.

And I don’t think that’s how you’re supposed to start a conversation about it.

TLDR: Uhhhhh please don't misconstrue what was in the game in order to make your argument because that's Not Cool, and I invite everyone to please play or watch a playthrough of The Legend of Zelda: Twilight Princess in order to form your own educated opinion!

Basically ummmm please reread the book before writing your book report.

And here are all my referenced sources so nobody thinks I'm pulling this out of my ass:

A Legend of Regret: Fallen Kingdoms and Postcolonial Ghosts in Twilight Princess

Tumblr Post Dated 03/27/2020

Tumblr Post Dated 10/20/2024

Tumblr Post Dated 10/21/2024

The History of Light and Shadow

At the end of Twilight Princess, Ganondorf delivers one of his most memorable lines, “The history of light and shadow will be written in blood.” He is not wrong. As the player has witnessed over the course of Link’s adventure, Hyrule is haunted by ruins and ghost towns, a mere shadow of what it once was. The landscape is filled with numerous sites of past violence and empty spaces visibly marked by decay and wasted potential.

When Zelda tells Link and Midna that “these dark times are the result of our deeds,” she is referring to specific historical acts of imperialistic aggression. Hyrule established hegemony over its outlying territories by crushing the rebellions against its advances, but the kingdom has suffered from cultural stagnation as a result. Without the dynamic diversity symbolized by Ganondorf, Hyrule finds itself in economic and political decline, isolated from any contact with the world beyond its shrinking borders.

As a representative of a marginalized group of people who have been attacked and driven from their homes, Ganondorf is a tangible manifestation of the horrors of imperialism. He must be defeated, but doing so does not address the underlying problems that have resulted in Hyrule’s decline. I therefore want to argue that Twilight Princess uses Ganondorf to deliver a subtle yet poignant protest against the discourses of empire reflected by the dualistic “light and shadow” rhetoric of heroism that has resulted in tragedy and regret.

Keep reading

[anonymous-dentist]

Bleeding Heart Part Six

Part One | Previous Part

-

Almost two months after his first altercation with Hombre Misterioso, Cellbit hears a knock at his door as he's editing the last of Roier's photos.

Yawning, Cellbit leans his chair back and runs a hand through his hair. He cracks his neck and blearily checks the time in the bottom corner of his computer screen: three in the afternoon. He started editing almost nine hours ago. He's been out of coffee for two and a half hours at least.

So he gets up, groans as his spine protests at the sudden weight, winces as his bones all pop in quick succession. Picks up his coffee mug, ignores the knocking at the door, goes to start a fresh pot of coffee.

His mug was painted by Richarlyson at one of those do-your-own-pottery places. It's a bright, ugly yellow with a red heart and the words, 'World's Okayest Dad' painted on it in black.

The knocking continues.

Cellbit checks his hair in his reflection in the microwave. Pulls at one of the bags under his eyes. Sticks his tongue out. Grimaces at how stupid and old and tired he looks. (Bagi is 26, he thinks, so he should be, too. But, wow, he looks older. Much older.)

More knocking.

With one last forlorn look at his bubbling, brewing, beautiful coffee, Cellbit finally goes to answer the door. He's in his pajamas (sweats and one of Felps' old shirts), and he probably looks like a walking corpse, but, like. Whatever, anyone stupid enough to actually come to his apartment knows that he works from home. They should know what to expect when bothering him.

But:

"Hi!" Bluebird cheerfully says as soon as Cellbit's door is open.

Cellbit looks at her. He blinks, rubs his eyes with one hand, and moves to close the door in her face.

But he's stopped by Bluebird sticking her foot in the door and weaseling past him and into the apartment. She apologizes as she does so, but Cellbit knows that she doesn't mean it; she's a hero.

"Nice place," she comments, walking to the couch and plopping herself down like she's right at home.

"Um," awkwardly says Cellbit. "Get out of my house?"

"Who, me?"

Bluebird actually, really, legitimately looks around the room dramatically, head and hair whipping back and forth as she tries to find whoever it is that Cellbit is actually talking to.

Cellbit balls his hands into fists by his sides. Fucking. Heroes.

Bluebird's costume is basic: black undersuit, light blue vest and darker blue pants, white ski goggles. Her hair is halfway tied back in a ponytail. Her weapon of choice, her now-famous scythe, is on her back and digging into Cellbit's couch cushions. The Federation's logo is right on her chest, and all her sponsors' logos run down her sleeves and the legs of her pants.

Cellbit hates her. She isn't even making an attempt to hide her identity- the goggles aren't doing shit. Heroes don't have to hide themselves. Their faces are on cereal boxes. Bluebird is no exception, especially now that her popularity is skyrocketing.

Bluebird, of course, is assigned to find and defeat Hombre Misterioso. The public thinks that her job is to capture them so they can be tried and imprisoned in the Federation's special underwater prison facility. But Cellbit knows that she's going to kill Hombre Misterioso, and it'll be framed as an accident, and she'll get 'suspended' for a month or so as punishment but, really, it'll actually be a vacation reward for a job well done.

"What do you want," Cellbit flatly asks.

Sighing, he nudges the door shut behind him and leans against it, arms crossed.

Bluebird stares at him for a moment.

(Bare arms crossed, scars and all.)

And then she lets out a breath and crosses her legs, fold her hands neatly on top of her knees and tries to smile. Tries, because Cellbit can tell that her heart isn't in it.

"Hey," she hesitantly says, "so I'm supposed to be asking you about Hombre Misterioso and stuff, but, real quick, I just wanna say that I'm really sorry if Cucurucho's been bothering you."

"You're wasting your time," Cellbit tells her. "Get out of here before I call the cops for trespassing."

Bagi would love to arrest a Fed, even if the charge wouldn't stick longer than an hour after arrest.

Bluebird winces. "O-kaaaay, sensing some hostility here. But, listen, we all just want this guy caught, right?"

"Sure. It's a real shame what's happening to all your heroes."

"It is! And you almost ended up like them, but! But you didn't."

"Yeah." Cellbit nods. "Because I'm not one of you. You're talking to the wrong guy."

He smells coffee.

Ignoring Bluebird for the moment, he walks through the main room and past the couch and the hero on it so he can squeeze into the kitchen. His apartment isn't small, but the kitchen table takes up a solid ninety-percent of the kitchen's floorspace. It even dips into the main room, making it real hard to get around at night when the lights are off.

He grabs his mug and the coffee pot and pours himself a fresh cup. He can feel the warmth radiating out from them both, and he shivers involuntarily. (He usually wears a hoodie when he's working, but he spilled coffee on it earlier in the afternoon and hasn't gotten around to getting a fresh one out of the closet.)

Bluebird, of course, follows him. She hovers in the doorway near the end of the table; her scythe is tall enough to almost scrape the top of the doorway.

Cellbit raises his mug to his lips.

"You might not realize this, but you were probably targeted," Bluebird says, actually almost sounding serious. "Your parents might be dead, but you and your sister aren't."

Cellbit jerks so hard in response that he spills his fresh, hot, boiling coffee all down his front. But he can barely feel it through the sudden rush of hatred in his body.

"My parents had nothing to do with the Federation," he snaps. He pulls his wet shirt out in front of him and wrinkles his nose. "Excuse me."

He puts his cup down on the counter and pushes past a surprised Bluebird to go to his room. He actually manages to close this door behind him as he pulls his shirt off and starts searching for a new one.

As he's digging through his shirt drawer, he hears a tap-tap-tap at the window behind his desk.

Dread filling his veins, Cellbit turns around and sees a familiar gas mask poking out over the top of his computer monitor.

Hombre Misterioso waves.

Cellbit, suddenly, feels rather faint.

"No, sorry!" Bluebird calls through the closed door. "That was my bad! I meant your, uh, the parents you and your sister share? Not your actual parents."

Cellbit points aggressively at the window and mouths, 'Get the hell out of here!'

Hombre Misterioso just waves some more. They're absolutely smiling under their mask.

It's the afternoon. They haven't been seen once in the day, only at night. Sometimes in the evening. Rarely at dawn. Not when the sun is out; it's theorized that their powers relate to the darkness like the Demon's.

"I have nothing to do with those people," Cellbit huffs. He turns back around and grabs a random shirt out of the drawer and starts pulling it on. "Cucurucho probably made you read my file, right? So you should know that."

"It... briefly mentions the Webbers, but that's not what's important!" Bluebid protests. "The Federation is really worried about your safety here, dude! My partner, Lavagirl, is currently talking with your sister about this exact same thing."

"You'll have better luck with her. She's actually on your payroll."

"Yeah, so her time with the Junior Heroes actually makes her a bigger target than you, probably, but, listen-"

Somehow, Cellbit's window starts to squeak open behind him.

He whips around and glares at Hombre Misterioso, who freezes in place with their fingers on the glass. Are those... suction cups on their fingertips? What, are they a thief now? A Spider-Man wannabe?

"No!" Cellbit shouts.

Hombre Misterioso flips him off with a palpable roll of the eyes.

Bluebird repeats, "'No'? Aren't you listening to me right now? Hombre Misterioso is trying to kill you!"

Cellbit laughs dryly. "Yeah, no."

He angrily drives his finger downwards: 'Get down.'

Hombre Misterioso shakes their head.

Cellbit rolls his eyes and points at his bedroom door: 'Someone's here!'

Hombre Misterioso shrugs and starts moving his window again.

Cellbit bites back a groan and rushes to slam his window shut, having to reach around his computer to do it. It slams, and then it's immediately being raised again by the goddamn menace on the fire escape outside.

"Are you okay in there?" Bluebird worriedly asks. "You didn't get burned or anything, right?"

"Mmm, yeah, no, I'm burned as shit," Cellbit lies.

He hisses, eyes narrowed, "Fuck off! There is literally a superhero in my living room right now!"

Hombre Misterioso responds by pulling their cape aside and revealing the hilt of their sword.

"No!"

"Do I need to call an ambulance or something?" Bluebird asks.

"No, I'm fine!" Cellbit replies. "I'm putting on some burn cream now!"

"...You keep that stuff in your bedroom?"

"My computer is old as shit and I have to run Photoshop on it. I burn myself daily. Just... get out of here!"

Cellbit, only vaguely panicked, suddenly grabs an exacto knife from his supplies drawer and drags it across his palm.

Hombre Misterioso lets out an alarmed-sounding electronic gasp, but Cellbit just grits his teeth through the pain and forces a string of his blood out of his hand and around the window's latch and then around the leg of the desk. It ties itself off with a neat knot; Cellbit forces his bleeding to stop and starts willing his platelets to kick into action.

"No, wait, I'm a hero!" Bluebird argues. "I'm trained in first aid! Let me help!"

"I'm literally shirtless!" Cellbit, wearing a shirt, shouts. "Get the fuck out of my apartment!"

"Not until I know you're okay! Do you know how much trouble I'll get in if they find out I let a civilian get hurt?"

Oh, Cellbit knows.

The window rattles and strains as the string of blood keeps it shut. (Blood is made of iron, after all.)

With his palm already scabbing, Cellbit storms towards the door and slams it open, blocking his desk and window from view with his body.

Bluebird looks up at him, determined.

Cellbit wants to stab her.

Instead, he says, "Look, I'm not the guy you want to talk to about this. Your partner is already talking to Bagi, but you both have forgotten about the guy who chased Hombre Misterioso away from me that time."

(The window goes silent.)

For whatever reason, Bluebird sucks in a sharp breath before attempting a smile.

"Oh, Roier?" she asks. "We don't need to talk to him."

Cellbit cocks his head. "Really? Because I was unconscious. I can't tell you anything about what Hombre Misterioso was doing. But Roier saw it all."

"And he talked to the police."

"But Hombre Misterioso has to be pissed at him for ruining their kill, right?" Cellbit asks. "Serial killers always end up escalating outside of their pattern, everybody who's studied them knows this. They lose control. The pattern now is Federation workers, but maybe it'll expand to people protecting Federation workers."

Bluebird pales.

Cellbit rolls his eyes. "Come on, have you really not thought of that? Aren't you guys supposed to be, like, crime experts?"

"Hey! I'm new!"

"Yeah, and you're letting a civilian stay in danger because you're too focused on protecting a failed lab experiment," Cellbit scoffs. "Trust me, if this guy knows as much about me as you think they do, then they know that I'm not the guy they want to kill. They're looking for people who like the Federation, not people who hate it."

Bluebird narrows her eyes. "That's a dangerous thing to say to a superhero, you know."

Cellbit shrugs. "Sue me. You read my file, you know that I'm more likely to be a suspect here than a victim."

She nods. "...Yeah, but you don't have powers. And they do."

He smiles bitterly. "Right."

He looks at Bluebird.

Bluebird looks at him.

"Well?" he asks. "It's a couple of hours until the sun sets, and Roier's going to be leaving work soon. In that area of town? It's only a matter of time until Hombre Misterioso catches him."

There's a quiet laugh from the window.

Cellbit quickly covers it up with a cough and a faux-pained wheeze. He grips at his chest, wincing.

Bluebird's eyes widen. "Oh, shit! Right! Your burn!"

He waves her off. "Don't worry about it, I texted my friend. He's a doctor, he's on his way."

"Really?"

"Yeah, Pac from Chume Labs? He probably helped develop your training program."

"Oh, shit, you're friends with him?" she gasps.

"What can I say? Us Brazilians gotta stick together."

"Huh. Fair. Well..."

She looks uncertain, but she nods, acquiescing. "Fine. If he's coming. But, listen, call the hotline if you see Hombre Misterioso around, okay? You might not have the... best history with us, but the Federation is good people."

Cellbit smiles. "Get out of my apartment."

Once she's gone, Cellbit lets out a scream into his hands and turns to go and yell at Hombre Misterioso some. What the fuck!

He storms to the window and drops the string. It falls apart, blood splashing onto the desk and the carpet.

He wrenches the window open and finds himself nose-to-nose with Hombre Misterioso.

Well.

Nose to gas mask.

"What do you want?" Cellbit growls.

"Who was that?" Hombre Misterioso replies.

"Bluebird. You know, the hero literally assigned to kill you?"

Hombre Misterioso's shoulders tense minutely. "Oh."

Cellbit rolls his eyes. "Yeah. Now. What do you want? The sun is out. And I hate you."

"Ouch."

"Don't act surprised. You're literally stalking me."

"I'm not. But I am here for a good reason."

"You are literally at my apartment." Cellbit blinks. He flushes red in both anger and embarrassment. "You saw me shirtless!"

"And it was very nice, but I'm here to tell you that I am going to kill Iron Boy tonight at midnight."

Iron Boy... former Junior Hero, graduated a few years ago into the mainline hero program, no known powers but an affinity for technology. Otherwise known as Tubbo, one of Pac's coworkers at the lab, and one of Cellbit's biggest haters for no good reason.

Tubbo isn't that old. He's a mentor hero for the Junior Heroes. He doesn't do much actual hero-ing outside of escorting the juniors on crime fighting field trips and testing out weapons for the lab.

Cellbit shakes his head. "Not him."

"Yes, him."

"Do someone else. Without him, the lab is understaffed until Mike gets back from his honeymoon, and we don't know when that's going to be. Kill him when Mike's back."

"Ugh, fine," Hombre Misterioso groans. They slump against the windowsill and rest their chin on their arms. "Who should I kill, then?"

"Why are you asking me?" Cellbit asks. "I'm not a villain, in case you haven't noticed. I'm retired."

"Whatever you say, enigmito." They drum their fingers against the inside of Cellbit's wall. "Maybe I should find Sharkboy."

"Fuck Sharkboy," Cellbit immediately declares. "If you can find him, kill his ass. But he's also retired. Nobody from the Order has been able to track him down."

"Maybe I should find one of those French heroes," Hombre Misterioso muses. "What do you think?"

"I think that I should give you Crow Man's phone number so you can ask him about this and not me."

Suddenly, Hombre Misterioso sits up and snaps their fingers.

"I know!" they excitedly say. "Man-Bear!"

Man-Bear... must be one of the newer heroes that Cellbit doesn't know about. Richarlyson might have heard of him, but. Yeah, no, Cellbit isn't going to ask him. He doesn't want to risk a repeat of the aquarium.

"Fine, Man-Bear," Cellbit sighs. He gives Hombre Misterioso a tired look. "Is that all? Can you go now? And never come back? And leave me alone?"

"I mean, you can come with me toni-" Hombre Misterioso starts.

They freeze.

Cellbit watches their still body until they come back to themselves in the middle of a different sentence and in a different pose: gesturing grandly with their hands and audibly smiling.

"-a team!"

"Yeah, no," Cellbit immediately says. "I can get you the Demon, if you want? But he's kind of on a murder break right now..."

(Fatherhood really has mellowed Bad out, hasn't it?)

Hombre Misterioso audibly grimaces. "I fucking hate that guy. Look, I'll call you with the details tonight when it's about to happen. You can show up if you want. If you don't, it's no big deal, you can just come to the next one."

"Please don't do that."

"Don't worry, I still have your number."

"I'm literally going to go change it as soon as you're gone."

"You won't." They tilt their head tauntingly. "You want to keep an eye on me. If you don't, how will you keep me away from your son?"

The hair on the back of Cellbit's neck stands on end.

"You haven't changed your number since I first called you," they say. "You won't do it now."

They laugh, slow and deliberate and absolutely just grating on Cellbit's ears.

"I'll see you tonight," they say.

Cellbit slams the window shut and backs away from it.

Hombre Misterioso wiggles their fingers in a farewell, and then they hop over the edge of the fire escape and drop out of view.

...Maybe. Maybe, Cellbit should call Bagi.

-

A/N: Let me know what you think in the tags or in my inbox! I want to hear your theories, thoughts, opinions, everything!

[soysaurus]

There's a trait that runs through every hero, regardless of if they've spent the last couple months in prison, rehab, or wrangling pyjamas onto a stubborn five-year-old: they're a workaholic.

Thank god Jason is not a hero. Roy, on the other hand, definitely is. He might be ‘inactive’ or ‘I’m just focusing on Lian right now, thanks’, but Jason has dropped by Roy's shitty apartment in Star often enough that he can confidently say Roy, no matter what, is a hero.

So he kicks him.

“Ow! What the fuck, Jaybird?” Roy glares as he brings his fingers to his lips, slurping up the bright orange liquid that’s currently coating half his sleeve.

More keeps dripping onto the floor in radioactive bursts, and the bowl is steaming. It has a chip in the side from when Jason was teaching Lian how to shoot, and Jason knows what the ceramic feels like when steam is escaping from every orifice. He had to use his Red Hood gloves to hold the damn thing last time. He had to do a lot of things, but Roy's fingers don't shake as he holds the bowl in one hand.

He kicks Jason lightly back. “You're a fucking asshole, Todd, ya know that?”

Jason's head is a slow buzz. It's a sound that he can feel spit behind his eyes, sing with sharp vowels and harsh chords. It's something that's attacking him from the inside-out, digging deep until he can feel the green of the pit flare in his throat.

“Fuck ‘ff,” he murmurs, turning his head to look anywhere but Roy. “Don't need your shit-ass soup. Don't need anythin’.”

He moves to stand, to sit, to do anything but be useless on the sofa.

Roy only needs one hand to hold Jason down, and Jason tells himself it's just this once. It's because Roy is a hero and Jason is anything but.

“Dude, you're, like, what? Two seconds from passing out my couch? Eat the damn soup.”

Jason doesn't look as the bowl is shoved in front of him. More sloshes over the sides, lapping at Roy's thumb. He needs to get his mind out of the gutter. He needs to remember why he came here in the first place.

Roy groans, deep and guttural with his head thrown back and all the muscles in his neck straining. Sometimes Jason wants to curl his fingers around the thick flesh, cord his soul into the pieces of Roy he can never get back, and take him. For real this time.

He looks at the damned fucking soup.

It's tomato or carrot, or maybe even something that has never been orange in the first place. Jason can feel the steam hitting his nose hairs but he can't smell anything. “Needs more seasoning,” he spits.

Roy sighs. The soup nips his fingers again as he plops down onto the sofa. Their thighs touch, brush, hold on tight enough to blur the lines.

“You're sick,” Roy says. He holds up a spoon. It's caked in red. “Here comes the aeroplane…”

Jason wants to punch him, and it's fine because even though Jason rescued Roy first, Jason was also the first who left. He was the first who walked away and didn't return. He was the first one who died, and then died again.

It's stupid. Roy likes to say he died too, but Jason doesn't like thinking about explosions. He can't think about anything right now anyway. His brain hurts. The words in his head buzz. A hot tip touches his lips but it's not the right kind.

“Open wide.” Roy's using his Dad voice, and it's horrifying. Jason can feel his heart in his lungs and sometimes he forgets Roy has green eyes too.

They're earthier. Grounded. They're nothing like the look Jason stares at Roy with when Lian's gone to bed and the bowl's still chipped and the dishes haven't been scrubbed but everyone is too tired to touch it.

Roy sighs. The spoon clatters into the bowl, and he sucks the soup from his thumb again. “Jay, you gotta work with me here. You're sick. Being a stubborn asshole isn't gonna change that. What're you even doing here, man? Thought you were tired.”

Jason has never said he's tired before. At least not to Roy. The voice in his head that glows green and grins acid is different. He thinks he loves the voice and also hates it. He doesn't know if it's himself or someone else.

“Shut up, Harper.” He sniffs without meaning to and promptly closes his mouth.

Roy's lips break into that sly grin that means he's going home with at least a couple numbers and a body or two hanging from his elbows. “Only if you eat the damn soup. Otherwise I'll keep going, baby. I can keep this up all night long.” He winks as if Jason doesn't know him. “You know I've got the stamina to prove it.”

Jason rolls his eyes. Kind of. It hurts and the world spins, and then Roy's whispering meaningless words into his ear. He thinks his eyes are open but then he blinks and sees the ceiling. He does a double take but his body doesn't move. The air swirls. Something pinches his hips, then his legs, and then Jason is in Roy's room and the sheets smell like his body wash.

There's another smell, something heady and unmistakably Roy. Jason's not in love because he's never been in love. He doesn't know what it looks like.

He smells soup.

A ceramic bowl clatters gently, and a duvet is tugged up to Jason's chin. The bed dips next to Jason's waist and Roy's hair is long. It isn't tied back, but it was before. With the lamp light, his eyelashes look brighter. Almost like they're glowing.

Jason's not in love because Roy could never love him. He's just not the type. He's someone who dedicates his life to one person and one person only, and Jason is nowhere near a hero.

The tip of the spoon touches his bottom lip. It's cooler.

“Open wide.”

Maybe it's because it's half-one in the morning or Jason's running a fever higher than he ever has before, or because he's only twenty-one and yet he has over half of Gotham's underground under his control. His chest clenches. Tim said Jason's going to end up with heart attacks if he keeps this going, and then Jason yelled about all the empty Red Bull cans littering Tim's floor.

Jason's only twenty-one but he's never been in love. He was, maybe, once when he was fifteen. But that was before the voice in his head was impossibly loud. He doesn't remember who it was, and they're probably gone.

He opens his mouth. Roy grins, sly and dirty. His Dad voice slips out: “Good boy.”

Jason's going to kill him. He doesn't remember why he came to Star City tonight. He doesn't remember a lot of things.

His chest tightens even more as he swallows, and maybe Tim is right. Maybe heart attacks are going to be what finally takes Jason out.