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deputy-morgan-malone · 2 years ago

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What is your OC’s Role in a Tragic Play?

I was tagged by @corvosattano, @fourlittleseedlings, @shellibisshe and @aceghosts to take this uquiz for my OC/s, thank you!

Not tagging anyone since it’s been a while, but if you see this and would like to do it consider this an open tag, and feel free to tag me in on your results :)

Deputy Morgan Malone (FC5)

misunderstood villain

prepare for an onslaught of both the most dehumanizing and hateful takes, and flood of thirst comments. you are chronically misunderstood. whether or not you're actually evil is debatable. you may be acting out for revenge, to defend someone you love, or even just to protect yourself. you're a pretty jaded person. you don't trust or even really like most people. maybe you did at one point. but that part of you is gone, and you don't go a single day without grieving it. you think a lot about what your life could have been. you're stuck in the past. you're angry and maybe you don't even want to be, but this is the only way you can see to survive. you're open, but less in a trusting way and more like a wound. you don't like to let people see you, but the hurt spills out of you before you can stop it. you're impulsive, even as you try hard to plan and prepare. maybe someday your side of the story will finally be heard. until then, you can convince yourself that being hated is safer anyway.

#so this isn't really the role i see for morgan #but it's a similar result to a few i've gotten from uquizzes #and given that i don't really have a canonical ending for morgan's story yet...maybe?#as time goes on and the reaping really only gets worse for her and her patience wears out and she finally snaps #and then - without going TOO far into the darkness because that's not her - refuses to apologise because 'it was a shitty situation and i #couldn't have done any better'#i don't know #she was created to be a bit of a foil to joseph - and developed as i learned more about him #and she has a very similar 'i saw something terrible happening and was i supposed to do nothing? i chose to act' vibe #so taking on a similar role to him - as a lot of fc protagonists end up mirroring their antagonist - wouldn't be completely inappropriate #for her #going further and further to try to protect the people of hope county and just get it OVER with #while less and less people understand her and she's less and less inclined to explain her reasoning #and has less and less energy to try to connect with people #she is a little untrusting of people - has trust issues - but i wouldn't say she doesn't like most people #but anyway - interesting result #and certainly true of her from the cult's perspective #uquiz #tag games

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grison-in-space · 2 months ago

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I would be so much more excited by Athena plotlines if we ever used her canonical tendencies to get caught up in the moment's drama and go so far over the top that the bottom is no longer visible for, like. Comedy. This is a middle aged woman, intensely conscious of her own sense of dignity, who routinely gets sucked into Drama with teenagers. Not even just her own teenagers! Any random teenagers that sass her!

I think the most fascinating and endearing parts of Athena are her total lack of self awareness and her tendencies to go absolutely over the top the moment she isn't focusing on what people might think. These are the same traits that make her, frankly, kind of an awful cop—she's a take on the Dirty Harry-style cop at odds with the law that inverts the usual race and gender markers of the archetype—but also a rather endearing person when she's not, say, trying to actually destroy someone. Let Athena be dramatic and ridiculous when the stakes are moderately low! Convince her to get excited about something with Bobby! Let Athena get a hobby!

Also, I really miss Michael's ability to gently puncture Athena's ego and shore up Bobby's confidence at the same time. I get why he got put on a bus but I miss him! Give Bobby friends again!

Enough police brutality Athena plotlines. I want an Athena plotline based on her canonical activity on stan twitter where one of her oomfs goes silent on twitter the day of the series finale after weeks of weird cryptic tweets and Athena has to go around convincing people that they have to look for oomfie and outing herself as being on stan twitter in the process.

#911 #Athena #It's so clear at times that the show isn't certain what to do with Athena given the specter of police brutality #Because Athena is a wildly interesting character who ABSOLUTELY SHOULD NOT HAVE THE POWER AND AUTHORITY OF A COP #And that tension is inherent to the character concept as written #Because she's a riff on an archetype that is pure concentrated hypermasculine copaganda so you can dig into the accompanying implications #An archetype that is wildly workaholic in part because the unrestrained PTSD abs #In part because unrestrained PTSD and poor internal self awareness has long since tied her self worth and sense of purpose to the job #And that archetype generally doesn't willingly retire as she is not #Meanwhile you have Bobby over in the corner trying to tug at the concept of retirement and seeking connection and affection #In his role within her story as the second (not yet fridged) wife. within usual narrative of the archetype hes at high risk of fridging too!#I can't forget the extent to which early Hen and Athena are introduced as black women playing roles that almost always go to white men #And I think that plus the cop thing had written the show into a corner #Idk I think that building a pathway towards Athena actually arriving at a place where she might retire would also be narratively interesting #And free the character up for genuinely funny and potentially more interesting story lines as in S1 #She's been trapped in the archetype a little too long. FREE HER. let Athena find who she is when Bobby's pants are on and she's off duty!#Let her be vulnerable and ridiculous and pushing on the bounds of her self concept again!

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hylemorph · 2 months ago

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Spoilers: Eggers' Nosferatu

There's a lot of debate right now on if Count Orlok represents Ellen's shame/trauma/abuse, or if he represents her repressed erotic desires, and in turn there's debate on whether or not viewers who find the Ellen/Orlok dynamic alluring are "missing the point." Eggers and Lily-Rose Depp have both said in interviews that there's a mutual pull between Ellen and Orlok, and even that there's a love triangle element, but obviously the experience is terrifying for Ellen. How can we reconcile the sexual tension and the horror?

I think the broader theme is that Orlok represents everything in a woman's inner world that men refuse to acknowledge and accept - fear and shame and trauma, yes, but also our appetites . After the prologue, the story starts with Ellen begging Thomas to stay in bed with her; she says "the honeymoon was yet too short" and tries to pull him in and kiss him (obviously trying to start some nuptial bliss). But Thomas is anxious to meet with his boss and get his promotion, because he has a narrative he's going to fulfill: he's going to pay Friedrich back, buy a house, and then start having kids (he and Friedrich touch on this a bit later. Notably, Friedrich discloses Anna's pregnancy to Thomas before Anna has made it public.)

It's the start of Ellen and Thomas' married life and she just wants him to prioritize her sexual desire, but he chooses to focus on his ideal of success, which sets him on this path to confronting Orlok. We know Ellen doesn't care about having a house or fine things and she begs him not to go, but Thomas listens to Herr Knock and Friedrich, who tell him that as a husband he has to provide materially. He ignores Ellen's stated desires, and so fails to provide sexually and emotionally. When Thomas gaslights her about her nightmares and calls them childish fancies, he shuts down her vulnerability, which kills the intimacy she was enjoying in the literal honeymoon phase.

On a related note, there's a defence in here for Aaron Taylor Johnson's performance, which I've seen a few male critics call "over acting." In this story Friedrich represents the masculine ideal of the time, he's a rich business owner with a beautiful wife and kids. Thomas clearly looks up to him and wants to emulate him - he wants to give Ellen the life "she deserves." But Friedrich's elevated masculine status is why he refuses to listen to Ellen's "hysterical, sentimental" worries, he's too rational for all that of course. And his stubborn "rationality" leads to the death of his entire family. Friedrich IS the patriarchal ideal that crumbles when confronted with nuance and uncertainty. Some people see Friedrich and assume that a character like him is meant to come across as dignified, and that Aaron Taylor Johnson is messing up by making him look annoying, but really he is giving a great portrayal of a really common, annoying kind of guy. The kind of guy who melts down and has childish tantrums whenever they lose control of a situation, or their manly skills and values are shown to be irrelevant.

The men in the movie (excluding Professor von Franz) frame Ellen as childish for speaking about her dreams candidly, but their own childishness is revealed when her dreams manifest in the form of Orlok and become unavoidable. Ellen (partially? possessed in the moment by Orlok) tells Thomas how "foolish and like a child" he was in Orlok's castle. In the literal context that's cruel, and obviously that shit was scary as hell, but it hits on Thomas' failure in the metaphorical reading. He was a child playing house: 'I'll be the husband and make money, you be the wife and make babies.' When it came time to confront his wife's inner world and all the scary, traumatized, lustful complexity of it, he was completely inept. The message isn't that Orlok is what Ellen really needs, or that Thomas is a wimp, but he's not a perfect husband either. I think "the point" is that a real healthy marriage with sexual, emotional, and spiritual mutuality is impossible in that society with Thomas/Friedrich's ideals. In that kind of society, a spiritually and sexually potent woman like Ellen ("in heathen times you might have been a Priestess of Isis") will always be caught in a "love triangle" with her husband and her own inner world.

#nosferatu #eggers #robert eggers #count orlok #orlok #ellen hutter #thomas hutter #aaron taylor johnson #lily rose depp

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britney-j-christ · 4 months ago

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I'm coming back to this, because I *am* too soft on Curly. What happens to him is so brutal that it far outweighs anything he did, but I think I am ignoring the narrative in favour of the story's circumstances.

If Anya was able to talk about what happened openly, I have no doubt both Swansea and Daisuke would have stepped up. We literally get to see both characters do so. Daisuke dies trying to save Anya, is easily pushed by Jimmy of all people to do something incredibly dangerous for her. Swansea can be seen supporting her, able to be confided in, even in the middle of a bender.

A sober Swansea and Daisuke not under pressure would both support Anya.

Looking at the overall narrative, I think Captain Curly and the Pony Express act as the individual and societal shame surrounding sexual assault? Because I think that Curly really does support Anya... but his way of dealing with it does still shove it under the rug as much as possible. The Pony Express, while factually being a nasty piece of shit corporation who is the cause of all these problems, is also acting as all of wider society. All of the problems The Company has caused, benefited from, disregarded, or will punish the crew for, are all mirrors of circumstances and what the wider society often do to victims of sexual assault.

The space ship, and the story events, are a microcosm. They are functionally isolated, but this exact scenario (minus being trapped in space) will and is playing out all over Earth, or whatever planet the Tulpar was headed to. Captain Curly and all the factors that weigh on his decision making, do on the other enablers out in the world(s).

This doesn't change much, to be clear. Because unless they replaced Jimmy somehow, they still needed him to pilot the ship and I think then, with his impending doom upon arrival, Jimmy would have crashed the ship in a way that really DID kill everyone. This was always a tragedy, even before it was a horror game. The scenarios rotten. Man, Curly really had no good options. But he choose the quietest one, and everyone dies not knowing what Jimmy really is because of it. Anya doesn't tell Swansea until it's so, so late. Daisuke dies on the word of Good Captain Jimmy, never knowing the truth about him. Curly takes the fall for the Tulpars crash. The silence Cpt. Curly's decision imposed hurt people. I don't think the ship not crashing would have made it not hurt people either.

Oh man, Curly really had no good options, huh?

I see a lot of people jumping to "Curly should have shot Jimmy", which is fine to say because he still should get to shoot Jimmy, but not a compelling argument.

Unless this is even more dystopian of a universe than it seems (Ala the villain being capitalism, not The State Shooting You Without Trial In Space style) there's no legal grounds to do that. That's vigilante justice and while it would solve a part of the Safety Concern Jimmy causes, it leads to too many problems on earth.

Also, you cannot just casually shoot a coworker or 1/5th of the locals. Daisuke and Swansea would have *very reasonable concerns* if their captain just shot someone, even if it was explained. And I don't think either would be down to do a cover up about it. And if they did...

Daisuke would Crack in seconds under interrogation or scrutiny.

We're also talking about Captain Curly pre, uh... "character developement" as it were, being able to see Jimmy's abusive nature first hand now that he's under his control. There's a pattern for trying very, very hard to see the good in Jimmy and enabling him. He'd never be in this position as copilot if Curly hadn't been there, trying to pull Jimmy out of whatever trouble he was at back on Earth. Curly is a big picture guy who doesn't see the dead pixel; he sees Jimmy climbing up and out of the muck with him and he ignores the red flags or, possibly, even prior offenses?

Captain Curly can be seen *trying* to be a good Captain, not unlike the way Jimmy as Captain is also "trying" to be a good Captain(for selfish ego driven and guilt-avoidant reasons). It really is a goal they share. Both of them fail at it, but it is both their motivations in those roles. Even stressed and overworked, jumping to killing his best friend three months into a year long voyage isn't rational.

So how about we downgrade to more reasonable option; jailing. Except the places where one can be locked in are the hold full of valuable unknown cargo, so a non option if they want to get paid (they desperately do), and the medical bay, which is much more viable if they could a) get that set up in a way that didn't jeprodise the health of everyone and b) didn't have a huge human sized vent that might kill you if you go through it. I understand why neither were chosen.

So, how about the cryopods? Seems pretty viable. Much like murdering Jimmy, you'd have to get everyone on board for this. So, confronting Anya's rapist in front of Daisuke and Swansea and hope they can sway them both in favor of Lawful Detainment.

It's not impossible. I think, if they tried, it would have worked in terms of grouping up together- if they could do it without Jimmy getting wind of it and doing something drastic beforehand.

But then there's no copilot. This is such a major issue for an eight month voyage where we see that the ship will see a problem approximately like 2-3 minutes before it happens and requires corrections. Curly cannot do this job for that long. No one else is appropriately trained. Swansea is busy, Daisuke is not reliable enough to handle this, and Anya... could probably do it tbh I have complete faith in her but that's a lot to put on her shoulders to not get paid appropriately for, just for her to be *safe* from Jimmy.

I struggle to blame Curly for the choice he did go with. I don't see any good options, especially without knowing what's going to happen. It's already a huge jump to go from Best Friend to Rapist; expecting Jimmy to go down to Murderer is a big leap. It seems like he thought he had eight months to work with Anya, to figure out what to do. "Talking with Jimmy" could have been anything from Boys Club protection racketing to clinical setting of boundaries for likely the first time in their relationship to a full on confrontation. We don't know. We only get to see the death spiral that came out of it after.

It's pretty clear that Curly failed as a captain to protect everyone, but the scenario was hopeless to begin with. The choices he made before they got on the ship doomed them: trusting and supporting Jimmy was the mistake and it happened well before they got on the freighter.

And in every single scenario, I find it leads back to Pony Express being the ones at fault. Every bit of the ship they are trapped in exists to funnel more money into a dying beast of a company at the crews expense. I think Curly and maybe Anya both thought they had 8 months to figure out what would happen off the boat. A looming unavoidable threat of consequences. Everything to do with getting the company involved would likely drive Anya and or Curly broke; they say straight up they fine the crew for problems arising. That it's flat out the captains duty to handle it and then get charged by the company $$$ about it. They will double the amount of responsibility back onto the Captain and crew. Imagine working a year in isolated space and getting NOTHING for it? Imagine slashing thenrest of the crews wages.

Curly wasn't able to predict what Jimmy would have done. I think his plan was to handle things Off Board. Too late in multiple ways, but I do think he would have genuinely back up Anya in however they go forwards once they've landed.

The option he chose didn't deal with the real problem though. It feels like he tried to problem solve to deal with the consequences and not the issue at hand; the safety of Anya, his crewmember. It's how he failed as a captain.

I'm proud of him rushing headlong unto danger to try and save them all. God. What a vicious cruelty to deny Curly the one thing he does deserve credit for.

Anyways I'm redressing him like a mummy so he's nice and cozy for his 20 year sleep. Poor guy tried to intervene, badly, into something that needed to be prevented instead by the company and by foresight he didn't have about a dangerous, narcissistic best friend. Doomed from the beginning because of your character flaws and unwinnable scenarios. You're such a good little horror character; if feel like he's a good parable about putting safety first. Thanks for your follies bro I hope it has impacted my personal decision making for the better so I don't become you if I'm in your position.

#I wish we knew more about what Anya wanted #but in the way that horror makes you crave certain answers from an ambiguous story #I do like not knowing much about what the victim dealt with played out on screen #I love Curly for taking that role over for her in the game #Isn't it fucked up how Curly cannot help her in his reality and yet. in ours. he shields her from our view.#He's the scapegoat for all the suffering of a victim splayed out for us to see so we can Get It #I love you for that Curly! That's not a choice you made as a person but you're also a fictional character so it factors into you #But also NOT having Anya being the player character or to have access to her narrative #allows us the players to enjoy things like making this post; there's room for all of us to explore this stuff #because if we knew what Anya wanted to have done we'd have a definitive answer. But we DONT. We have no clue what Anya asked of Curly.#And that's cool! Because otherwise what she wanted would become The Right Answer. and there'd be no debate about what curly shoulda done #and the story would be both less compelling and more invasive and never woulda made me think about what to do when IM Captain Curly

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ambrosiagourmet · 1 year ago

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I've been thinking about Laios' succubus lately. Mulling it over a bit.

Because I've seen these pages brought up a fair bit, but almost entirely in the context of shipping (on all sides, really). And I really want to understand what they are doing for the story beyond that.

When I went back to reread the scene and section, a few things caught my interest: the way Laios responds to both forms of his succubus, the themes of the volume the chapter is found in, and the other events of the chapter itself.

So let's dive into those three things, and what I think they say about the succubus scene's purpose.

Laios is never fully frozen by the succubus

So. If you compare Marcille and Chilchuck's reactions...

to Laios':

There is a difference. Sure, the basics may look the same once it turns into Scylla Marcille, but even then, it functions differently.

Chilchuck and Marcille are completely frozen once they catch sight of their succubus. Izutsumi, as well, isn't able to look away, and completely freezes up once her 'mom' starts talking to her. As Chilchuck describes, "just looking at them makes you unable to move."

And yet, Scylla Marcille has to actively convince Laios to comply. He even looks away from her at one point!

Laios accepts this succubus, but he is never actually helpless to it in the same way. Taken in? Convinced? Sure, at least enough to let things happen that he probably should question more than he does. But magically compelled? Not really. Not the same way as everyone else is. So that's interesting. But let's move on for now.

2. Volume 9 is all about drive and desire

I don't often look at chapters within the context of the volume they are included in, but I think there's some really fun things to be found with that perspective in mind.

For one, volume 9 starts with an exploration of what desire brought Laios to the dungeon:

And ends with a question of what desire brought Laios to the dungeon:

It's also very concerned in general with questions of why people do what they do. Why they are in the dungeon, why they are with the people they are with, why they stay, what they fight for.

In addition to Laios, we see it with Marcille...

Izutsumi

Kabru

and Mithrun

Hell, we even get it for the demon!

It's certainly not the only volume concerned with desires and motives, but it is particularly focused on these ideas.

The succubus scene fits quite well into the ongoing question about desires, especially Laios' desires. It is even placed at an interesting spot within the volume. The volume is six chapters long, and the scene takes place at the start of the 4th chapter. It's almost smack-dab in the middle.

With all this in mind, it is interesting that, with both versions of the succubus Marcille, it's not totally clear which parts of her Laios is rejecting.

The first version of Marcille looks human, but Laios attacks when he identifies her as a monster. The second Marcille looks like a monster, but he seems to believe that she is the real (human)(ish) person that he knows. So is he rejecting the monster at first, and then accepting the person? Or is he rejecting humanity and only interested in the monstrous?

Something to consider as we look at the next point...

3. the rest of the chapter is a seduction, too

This is one of those things that might not be apparent on a first reading, but is crystal clear on a revisit. We see the succubus try and charm Laios over 7 pages, and then see the Winged Lion do the same thing for the next 19.

Much like the succubus, it offers the mingling of monsters and humans. Much like the succubus, it offers belonging.

(and this is the point where I absolutely must also link this post by fumifooms on the succubus, which has some great ideas on how the scene is informed by Laios' trauma and desire for acceptance!!!)

But, back to the point. The Winged Lion wants to feed on Laios just as much as the succubus did, and it uses similar strategies to try and make that happen. Though this chapter isn't really the turning point for the next Lord of the Dungeon (it is Marcille who will, eventually, become the Lion's next victim), it certainly behaves like it is.

Laios is convinced. The succubus gets its meal. By the end of the volume, the reader begins to understand how concerning his desires are. Together, it is all very good at building up that sense of dread and pending disaster, as we see exactly how and why Laios might just fall into the Lion's open arms and bring about the end of the world.

So that's the three things I noticed. But there's still something I want to touch on by looking at the way these observations overlap, and what they reveal, together.

As I said, by the end of the volume, you can feel the tension growing. Just as Kabru and Mithrun do, you look back for an answer to the questions that have been built, chapter by chapter: why is Laios here? Where will his loyalties fall? This chapter, and scene, seem to prove the inevitable truth: he will choose the monster, of course. He will choose the seductive, easy power of the Winged Lion.

But the details of what actually happens tell different story: one in which the Lion is wrong.

First, as a reminder - even in Scylla Marcille mode, the succubus never fully entrances Laios. It convinces him, but it doesn't have him completely under its thrall.

Similarly, in the dream, the Lion does convince Laios to embrace the world he is offering. But even within that dream, Laios continues to ask questions that will be vital to him later. It is because of those questions that Laios comes to a new understanding about Thistle.

And it's this realization that he cites later as part of his reason for refusing the Lion's offer.

He is thinking through things the entire time, just like he continues to question the succubus even after it turns into Scylla Marcille.

Laios also expresses an interesting reason for why he wants to see the future of this world. He's not just invested because it would mean people liking what he likes, or him getting to spend time with monsters. The thought that comes immediately before his acceptance is about what he wants for monsters and people.

I don't think it's a coincidence that this statement - "we're living beings that share the same world, but all we can do is keep killing each other" - can apply to the various humans races just as much as it does to humans and monsters. The thing he is thinking about here isn't just a matter of his personal daydreams. It's an idea that underpins every conflict in the story.

Laios caring about how people as well as monsters in this manner is something that the Lion gets wrong every time. Even at the end, he still frames Laios' desires entirely around hating people and loving monsters.

The Lion has heard him express an opinion about the future of the world! It happened right there in the dream, right in front of him! He just didn't take it seriously, and didn't view it through any lens other than "Laios likes monsters more".

He's convinced that he understands how to get to Laios. Maybe the Lion can't truly see everything, or maybe his vision into everyone's deepest desires has made it hard for him to realize how much choice still matters. That people can, and do, choose which desires to act on, and how to act on them.

Whatever the case, he's wrong about Laios, and the story shows us this over and over again.

After all, look at how the succubus interaction plays out:

A monster uses Marcille to appeal to Laios...

He realizes that something about the situation is wrong, and rejects her.

It changes strategies, and makes new offer: to turn him into a monster.

It also assures him that his friends are, or will be, taken care of.

He accepts. Or rather, allows the monster to have its way with him.

But Laios is not as helpless as he initially appears, and what the Lion thinks is a successful seduction also contains the seed of an idea that will allow Laios to later resist him.

We even get to see Izutsumi playing a similar role in both instances, as the one person fully able to take action in the face to the illusion.

The story lays out what is going happen, and then explicitly tells us that the demon and the succubus are thematically related.

The chapter performs a great sleight of hand here - everything about it seems to indicate that Laios is doomed give in to the option to have his deepest desires realized. But if you look closer, it also contains the evidence that he won't. There's a lot more going on for him.

Yes, he still falls for obvious tricks. He is still extremely into monsters, and he still doesn't feel like he fits in with other people. He may, deep down, crave to surrender to the monstrous - to let it absorb him. But he questions more than he seems to. He considers more than people realize. He cares so much more than anyone gives him credit for.

And I think this is part of why we see the succubus called back to so many times, especially with the wolf head addition to his Monster Form, which he specifically added due to his encounter with the Scylla Marcille.

This all stays with Laios. It doesn't just foreshadow the path of the story, it is fundamental to how and why he walks that path. It's not about him choosing monsters, and it's not about him choosing people. It's about how he considers both, and cares about both.

And it's about the forces that think they already know his answer. Mithrun and Kabru. The Winged Lion. The succubus.

It's about how they are wrong.

#dungeon meshi #delicious in dungeon #dungeon meshi spoilers #laios touden #winged lion #dunmeshi analysis

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demilypyro · 1 year ago

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So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.

What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.

She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.

The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.

Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.

The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.

What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.

Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.

It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.

#scott pilgrim #spto #scott pilgrim takes off #roxie richter #roxanne richter #scott pilgrim spoilers #spto spoilers

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savanir · 3 months ago

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A sister's love

The justice league hurriedly responds to a call for backup at a little in the middle of nowhere place by the name of Amity Park.

The situation had seemed so simple.

A Star Sapphire had suddenly shown up on Earth which isn’t immediately cause for concern but she was unidentified, so a lantern was definitely going to have to look into it if only just to make sure that nothing bad was going on. There are two planet side green lanterns, Simon and Jessica. So they responded to handle the potential situation.

Things rapidly spun out of control when they realized it wasn't just a Star Sapphire.

"I hate to say this but we're gonna need backup" Simon tells Cyborg, "the Star Sapphire has brought something with her. My first guess was a white martian but..." The other one can do some manner of density shifting, and he can go invisible, but they know ways around that. Whatever this one is doing isn’t that though.

"Why isn't this working!?!" Comes Jessica's slightly panicked voice in the distance, "he keeps just going through my creations! dammit, think think Jess" She tried to contain him with a flamethrower construct but he just ignored it, like he’s seemingly ignoring everything else she’s throwing at him.

"Our constructs have zero effect on the other one, the alien, meta? man I don’t know he’s human shaped"

"What is the situation other than the two hostiles?"

"Uh we got some government agents who are retreating because of the Star Sapphire wrecking their stuff. And the civilian people here seem to be falling under her influence, so she must be human. She's from here, she needs emotional connection to pull that stuff off."

The people are furious, the violet glow around them clearly indicates that the girl is using her ring to amp them up but if Simon didn’t know any better he’d say this was red lantern stuff.

Well there are more ways to whip people up into a frenzy, by hurting their loved ones for example.

There is a brief moment where it can be heard that Simon and Jessica try to get into a more advantageous position.

Simon grunts, "dammit, those agents seemed to have weapons that actually worked on the other guy but the Star Sapphire used her violet constructs to shield him and destroy their guns and we've been struggling since" this whole situation stinks, he has a weird feeling about all of it.

"Simon this is really really bad, i can't keep restraining all these civilians, we're running out of energy fast!"

Cyborg tries to get a visual on the situation from his position in the Watchtower while he’s notifying any league affiliated heroes who are nearby and available.

But all of a sudden he realizes there is just nothing, just a big lap of void where the two lanterns are supposed to be, there is no cctv footage, no cell towers, no internet connection. Just what the hell is going on here.

Then the audio transmission starts to violently crackle.

A new voice laced with static can suddenly be heard, "There you two are"

"Shit"

"Is the justice league coming yet? Are they finally going to do something?" the staticy voice continues.

"Stay back you-"

"Or maybe they still need more of a reason to act"

The audio cuts out.

"Jessica! Simon! Come in!" ... "Shit!"

Cyborg finally gets a clear picture with the satellite cameras and now sees the entirety of Amity Park has been covered with a crystalized violet dome. It’s then that he remembers the story Hal told quite some time ago now about a Star Sapphire who managed to put a whole planet into love stasis.

They are gonna need more help with this one he thinks.

Meanwhile Jazz is still shakily trying to figure out how her new pink powers work, now that all the fighting is over (for now), the GIW forcefully expelled from Amity, and the two Justice league people captured and restrained.

Everything happened so fast, one moment the GIW had knocked out her brother and were forcefully taking him away and while she saw them drive off (she was pretty sure she was screaming) a pink thing just froze her in place, She was pretty sure someone said something about “great love in her heart” and then she was… well she was flying and- and there wasn’t really any time to question things then so she may have kinda gone and ripped into the van that had Danny.

She’s pretty sure she healed him, and then things just completely spiraled out of control from that point on. and now she’s here.

She’s pretty sure this is crazy villain behavior, she’s going to get put on some sort of watchlist and then she’ll never get to be a psychologist but it’s fine.

Her little brother is safe, that’s all that matters. And she will keep it that way.

#dpxdc #dcxdp #danny phantom #danny fenton #dp x dc #dc x dp #dp x dc crossover #green lanterns #jazz fenton #simon baz #jessica cruz #so Jazz is a Star Sapphire #And she is using the love she has for her brother as well as the love of the Amity Park community #the people of Amity are already not happy with the Justice League so getting them to do what she wants isn't hard #atm though she doesn't really know she's doing it #and the ring is probably also influencing her #I feel like this situation would first get worse before it would get better #The GIW would try to spin this into their advantage somehow

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mameillieureennemie · 2 months ago

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piercer!vi x f!reader, modern day

you come in for a piercing and vi's instantly smitten.

You're so pretty when you walk in, bubbly and sparking with energy that's hard to find these days. You smile at everyone, pulling them into your orbit with only a few words. Even the receptionist, known hater of everything, melts at your presence, and that has Vi wondering:

What the fuck are you doing here?

You're flickering through a magazine when Ekko approaches her, a knowing look on his face as he feigns a cough. It barely works to drag her attention away from you, and Ekko laughs when Vi tries to look at him and you at once.

"You're such a disaster," he laments and evades the incoming headlock Vi aims his way. "It's like you've never seen a beautiful person before. Do you know how lame you look?"

"Fuck off," Vi says, but it's lacking heat. "I've seen many beautiful people. Do you know how many hotties I pierce in a day?"

"And yet I've never seen you drooling over them," Ekko replies and shit, he's got her there. "Well, because I'm such a good friend, I'm gonna let you pierce her."

Vi tries not to seem too excited at the prospect. She's already been too much of a loser in front of Ekko already.

"Okay?" She shrugs, feigning nonchalance. "And what piercing is she getting today?"

Ekko smiles innocently. "Nipple piercing."

Oh, shit.

"Vi, she's ready for you," the receptionist says, poking their head around Vi's room. "So get off your ass and attend to her already."

Vi raises a brow. "You usually don't give a shit if I'm late or not with my clients." She replies, a little stunned. She then grows even more stunned when she sees the receptionist's cheeks turn a slight pink. "Oh my god—"

"Fuck off." They hiss before they're storming away and that, in itself, shows just how powerful you are.

"I'm not gonna survive this appointment, am I?" Vi says weakly, already knowing her fate.

Ekko snorts. "Good luck, buddy."

Vi's gonna need it.

~~~~~~~

It isn't long before you're seated in Vi's room, all comfy and relaxed like you owned the place. You smile when Vi appears back in the room, after having taken the time to compose herself.

"So I know what you want from your form," Vi says after sitting down in her stool. "But I like to hear from the cilent themselves. What's made you want to get a nipple piercing?"

You think about it for a second, pretty lips pursed in thought as your gaze wanders up to the ceiling. Goodness, it's such an innocent gesture, yet Vi's here kind of losing her mind over it.

"I wanted to do something I normally wouldn't do," you finally answer. "I've been kinda clean-cut my whole life. Not because I wanted to but because I had no choice." You give a small laugh, the sound a little rueful. "So when I moved out, I went a little off the deep end and fuck, it was nice. I got my ears pierced for the first time." You gesture to the three piecings you have on each ear. "And got a tattoo, but those weren't enough so my friend recommended another piercing."

Vi hums, sympathetic to your story before she's grinning. "And your friend recommended nipple piercings?"

There's a sudden shift in your demeanor; the confidence and ease you once had simmering down to something else. Something more delicate and awkward; a little embarrassed.

"Actually," you start softly, eyes lowered. "I made the decision..." You fiddle with your hands in your lap. "I heard that getting your nipples pierced made them more sensitive and...I wanted to see if that was true..."

Vi swallows heavily, her breathing suddenly deepening at your confession.

This isn't the first time a client has said they're getting a piercing for sensation. Vi's pierced more body parts than she can count, a lot of them beneath the belt. It's never affected her because, after all, the bodies she sees are simply bodies. They're nothing more than that, and there's no feelings attached to it.

Yeah, she's been appreciative of the bodies she sees, but it's like appreciating art.

This, on the other hand, is different because she knows she's attracted to you. Since the moment she saw you in the waiting room, laughing with the staff and sitting elegantly as you flipped through magazines. You're exactly what she's into, and the fact that she's about to touch you is driving her a bit crazy.

She takes a deep breath, deciding to speak now because she's been silent for too long. To the point she can see you fidgeting anxiously.

"Hey, that's absolutely valid," she assures you quickly, lips quirked up in a smile. "You're within your rights as a person to explore yourself and have these experiences. Especially when you weren't allowed to have them." Her smile turns cheeky. "And I can say that nipple piercings do make the nipples more sensitive, so you'll really enjoy them."

Your eyes widen at her implication, shooting down momentarily to her chest, before you're murmuring a soft, "oh."

Fuck, you're too cute.

"Okay," Vi starts, drawing away from this moment because she needs to focus. "So I'm gonna need you to take off your top so I can see what I'm working with."

You give a slight chuckle as you go to take off your top. "Charming," you tease, and Vi winks.

"It's a part of the pack—" she starts to say but stops short when your top's finally off and to the side. "—age..."

You blink, tilting your head to the side as you say, "Vi, are you okay?"

No, she's not.

No, because she's just come face to chest with the most perfect tits she's ever seen.

a.n: yes, there will be a part two

#vi x reader #vi x you #arcane x reader #arcane #arcane league of legends #my writing #piercer!vi

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princesssarisa · 2 years ago

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In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

#mythology #greek mythology #orpheus #eurydice #orpheus and eurydice #analysis #interpretations #adaptations #long

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blackberry-sage-tea · 2 months ago

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"The Dalish gifted an Eluvian to the Grey Wardens so we can get in Weisshaupt" is just so emblematic of my problems with the game, because you can tell--it feels to me--that the thought process was "We need to have an Eluvian in Weisshaupt, Eluvians are an Elven(TM) thing, the Dalish are the Elven(TM) faction, so let's just say they were the ones who gave one to the Grey Wardens".

The Dalish have been established over all three games as a people who have spent the last thousands of years desperately scrounging for whatever scraps of their culture they can find, a struggle that has cost them dearly as typified by Merrill's plight trying to restore a single Eluvian which had previously Blighted two of her clan mates (an Eluvian that she can't open or use, and doesn't actually know what it's for by the end of her quest line). Multiple Dalish in Inquisition are killed trying to regain their history ("The Knight's Tomb") or trying to prove themselves by regaining even a talisman related to their culture ("Someone to Lose"). They are an insular and guarded people because outsider interactions frequently invoke a heavy toll in Dalish lives, up to and including entire clans. And yet, we are supposed to believe in a single throwaway piece of dialogue that in the 10 years between Inquisition and Veilguard, the Dalish have (offscreen) gained enough access to Eluvians as a piece of technology that they can afford to just "gift" one to the Grey Wardens without explanation.

There are constant revelations of this kind where pre-established parts of the lore are just thrown out the window. Things that had great emotional weight or impact in previous installments of the series are used for cheap thrills or plot-hole fills without explanation, justification, or even gravitas from the game. You have a moment in one of Emmrich's quests where you stumble through a portal directly into the Fade that Hezenkoss opened in Blackthorne manor, and you're tasked with closing it again. All of this is done entirely without the Anchor or even an implied blood sacrificial ritual, and it is never commented as anything particularly groundbreaking (when going into the Fade physically through tearing a hole in it was a Big Fucking Deal in Inquisition). You encounter a Compassion spirit in a side quest investigating the deaths of citizens in Tevinter who were murdered by a demon of Despair, and it is strong enough to not only retain itself through sensing the (unanswered!) suffering that these people experienced, but it also resolves to protect others to keep them from the same fate (when Cole was so traumatized by a single person's death that he completely reshaped his entire being around them). So on and so forth. Don't even get me started on Bellara's comment that the ancient elves "made most of their buildings in the Fade".

I'm not asking for someone to hold my hand and spoonfeed me information. I frankly don't care if an obscure codex entry, a reddit AMA question, bluesky tweet, or headcanon exists somewhere to patch in or bandaid over all of the jarring details like this, because it doesn't change the fact that the game itself should be doing this. The game itself should be taking the time to explain this in a way that is not missable, the game itself should be taking these things seriously, it should recognize when it is doing contradictory things and rush to justify itself accordingly, because these are things the emotional beats of previous stories hinged on. Like, when the game has Taash say a line like "The Qun isn't a prison, you can leave if you want", it's the responsibility of the writers to show that this is Taash being misinformed, not because I'm too stupid to headcanon that this is the case, but because this line is a symptom of how the entire game's writing seems to have forgotten about the Ben-Hassrath as a thing that exists in this setting.

Previous Dragon Age games are no stranger to "We quietly removed Solas' network of agents and spies offscreen"-style writing, but it usually didn't feel like a constant deluge periodically uprooting my emotional investment and immersion. There's only so much I can take in good faith before I realize that this game was just not written with any care towards ensuring that the worldbuilding made sense and felt right to the player, leading to awkward backpedaling in reddit threads like "no the Crows haven't changed as an organization, these are just the unique Good Crows and we forgot to mention it".

I just can't look past this shit anymore.

#this is not what i made my blog for #so i won't say anything else #waving hello to my single follower #you and me we're holding hands in hell together #veilguard critical

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narfin-frood · 3 months ago

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i've been itching to share my swap au since i thought it up, but i think i now finally have an actual baseline to introduce it with!!

the idea isn't that it's a personality swap, but a role swap, with wander and sylvia as antagonists and hater and peepers as the protags, and i have a whole lot to say about it so im gonna go ahead and infodump below the cut

so i've renamed these two, at least, since hater's story has become less about getting over himself and more about how he sees the world Now That He's Gotten Over Himself. i'm calling him The Great (and absent) Lord Lackadaisical right now, but i don't think that's what he'd like to be called, since he's an absent ruler who doesn't really care to be in a position of so much power and would rather fuck off to all the planets with really nice hot tubs. he and Sir Peepers (his loyal knight who cannot be convinced to leave his side) travel the galaxy with hater's sweet ride (i'm not too good at designing motorcycles yet. pending).

i haven't thought of new names/titles for wander and sylvia just yet (i cannot just call him Sitter Over Therer) but i do know what their deal is, and it's the main reason i made this au (i feel like if wander were a villain he would not in fact be a villain like lord hater or dominator because i think that kinda disregards wander's whole Shit, he'd be like screwball, and even then he'd have very strong convictions that he's doing the right thing): wander has a cult (a hivemind, kinda) and sylvia is his priest.

i think wander comes along this mushroom during a time in his life when everything seems to have been torn asunder, and instead of continuing his adventures and learning and growing as a person, the mushroom offers a solution that doesn't require much effort on his behalf. the mushroom links people together borg-style, makes them share a brain and a purpose. wander not only thinks it's super neat, but he's in such a poor state of mind when he finds it, he convinces himself it's the only way to make the galaxy a better place.

sylvia is the only person in his Ring of Friends who isn't hooked up to the mushroom, because she's actually wander's friend, and she's his ride or die. she does the things she does out of free will and dedication to her best friend, including preaching and fisticuffs.

^^^ here's some more of my initial concept art. originally the mushroom was gonna be a tree, but i had a vision of an upside down mushroom (or several, to take the place of watchdogs) scuttling around and by god is it easy to make that look like his hat.

the thing that really really pushes wander over the edge is the sheer boredom of it all. when he's connected to the mushroom, he's very little more than the brain they all share. he can't move around, and that KILLS him (see: the hole lotta nuthin). so when hater (name pending) comes along and refuses to join him and annoys him enough, he gets suuuuper stoked about having something to really DO for once.

anyway. this is what i've got for now. do you like it. you can be honest if you dont like it

#myart #wander over yonder #wander #lord hater #commander peepers #sylvia the zbornak #lord lackadaisical #sir peepers #uhhhhhhhhh. whatever i end up tagging swap wander and sylvia as #txt #swap au #swap wander #sister sylvia

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angelltheninth · 1 month ago

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Arcane Characters Hand Headcanons

Pairing: Jinx, Vi, Caitlyn, Maddie, Ekko, Vander, Silco, Sevika, Viktor, Jayce, Mel x Reader

Tags: fluff, size difference, hand-holding, scars, bruises, hand comparison, cuddles

Ko-Fi | Rules | Fandoms and Characters | Commissions

A/N: I remember there was a post where an artist drew the hands and made some headcanons in their drawings but I don't remember who the artist was. But that was my inspiration for this.

JINX

Long and skinny fingers

Lots of calluses from tinkering with her weapons

A strong grip because of the Shimmer

If looking at her hands in the dark you can see Shimmer running through her veins

Has to constantly be told to be careful when working because she has no concept of safety and has come close to losing more fingers

Her hands are really rough all over

bruises on her knuckles that never seem to heal because she's always fighting

A few bones have been broken over the years and healed haphazardly

Gets the biggest puppy-dog eyes if you take her hands and kiss each finger paying special attention to the bruises

You're the only one she trusts to help her wrap and unwrap her hands every day

CAITLYN

A lot of calluses on her hands, especially her fingers

She's been shooting with a riffle since she was young so the pads of her fingers are tougher than the rest of her hand

The skin on the pads if her fingers is hardened

Likes to wear gloves, which you will say is a shame

Knows you like her hands a lot, but she has a better grip on her guns with the gloves on

MADDIE

Her hands are dusted with little freckles

A bit small, perfect for hand-holding actually

Can crack her knuckles and she doesn't even realize she does it most of the time

Many faded scars from her time growing up and training in Noxus

Refuses to elaborate when you notice how scared her hands are, but if she gets to know you well enough and trusts you she might share a story or two

EKKO

Because he's always working his hands are really rough and even have a few burn marks

There are more than a few broken bones in his hands

Never healed well because he refuses to take Shimmer and it's a bit difficult to find good doctors in Zaun

Habit of tapping his fingers against surfaces, even your arm or back while you cuddle

To keep your relationship on the down-low he often holds your pinkie finger with his

VANDER

His hands are huge compared to yours, you have to use both to hold one of his

The strength he has could crush a man if he tried

Definitely a working man's hands, you can tell he's never skipped a work day in his life

Long faded scratches on his arms and wrists

Still enjoys punching things and has a big punching bag in his room, but he often forgets to wrap his hands, which makes them a bit bloody after

SILCO

For someone in Zaun he takes pretty good care of his hands

Cold compared to yours, like his body temperature isn't quite where it needs to be

Skinny, long fingers but he will paint his nails if you or Jinx ask him to

Takes care of himself so he never has dry hands despite how they look

Always places his hand over yours, it's a protective and possessive habit

SEVIKA

She only has one human hand left but she's reckless with that one too

Always fights so you always help her patch up the bruises and clean the blood

Marks from tearing off scabs or making them bleed again

Usually has a hard grip but softens it for you

Has a few ash burns from her cigarette, she doesn't always move it away in time

VIKTOR

He grew up in Zaun and then threw himself in lab work so he's not the best at taking care of his hands

Skinny, almost boney hands

Has a habit of biting his nails when he's thinking about something

Broke his fingers and wrists more than a few times

You always tell him to wear gloves but he never does, not because he doesn't think he shouldn't but because he doesn't remember

JAYCE

Big, meaty, rough hands, very strong

He always wears gloves when he works, be it the lab or the forge

And yet he still gets that slightly rougher skin, not fully though because he's really careful

Uses hand lotion when he finishes working, it's what makes his skin extra soft

Won't admit that he does it but when you hold hands he's doing math in his head and comparing the hand sizes

MEL

If she didn't tell you then you would have never guessed she grew up in Noxus because her hands are so smooth

Her hands are delicate, with really well manicured nails

Only when you look really close can you see just a few, very tiny cut marks but they're almost completely faded away

Enjoys getting hand massages from you and you complimenting her hands

Tickles you when she runs her nails across your skin

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sincerelybubbles · 5 months ago

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ok shy bau reader and the team finally managed to get her to come a rossi dinner party so she can meet the rest of the team families that she hasn’t met yet, maybe after her first date with hitch and the team realized quickly she softened very fast with the kids and jack and her just seemed to click really fast and jack had her talking more than any of the team has so far… hotch is star eyes

hotch x shy!bau!reader \\ Dinner and Delights

Warnings: brief mention/allusions to Christianity. Otherwise, fluff! More insight into what Aaron is thinking :) I got very carried away, I hope you enjoy <3

"Woah hot stuff, where are you going so fast?" Morgan intercepts you with an arm around your shoulder as you attempt to slip out of the BAU unnoticed. "Hopefully to get ready for our big dinner plans?"

It's not that you don't want to go to one of Rossi's famous dinner parties, you're just afraid that your sub-par social skills would be noticeable by tenfold in a more casual environment.

At work, you can hide your quietness by talking about the psychology of the unsub, your specialty as a licensed psychologist. You can pretend you're not hiding in your shell when the team is all laughing and talking about personal lives by quietly listening while pretending to read your maps and journals. You can observe them and spend time with them, because you do truly love them all at this point, without feeling bad that you prefer to listen over talk.

And that's really it - you prefer to listen to them. You would say you've all but warmed up to all of them. You like Morgan's teasing, Emily's stories, Reid's rambling, Rossi's sarcasm, and Hotch's...

Everything, but the thought snaps you back to the present before you can dwell on memories of a sweet date in a dark restaurant.

"Of course," you succeed, nodding and sending him a tight-lipped smile.

"Hey," he slows you down and stops in the hallway, turning you to face him gently before lifting his hands in a placating gesture as if you were an animal he expects to run. "You don't have to do anything you're not comfortable with but I promise none of us are trying to lead our little lamb to slaughter. We know you're quiet," the admission embarrasses you and makes you feel guilty pleasant that he sounds so gentle about it, "and nobody minds, I think it's cute and I think the rest are just happy our other genius isn't as vocal as Reid."

Your nose scrunches at the small dig and you open your mouth to protest at putting Reid down to lift you up.

"And look at that! Another thing we all love - you're quiet but won't let anyone say anything about the other behind their back. You're a good person, we all just want to spend some less-intense time with you. So, go home and doll yourself up, and get ready to see Hotch wine tipsy. We all know that's your main motivator." Morgan winks at you and moves quickly down the hall and away from you, laughing, before you can protest.

He's not wrong, though, and you shake your head as you move toward the elevator.

You end up on Rossi's doorstep, choking the neck of a bottle of expensive wine between two sweaty palms. Your heart is in your throat, nerves humming in anticipation.

Your team cares about you. Nobody expects you to be anything you're not. Gentle affirmations meant to soothe over your skin in gently lapping waves erupt into steam; like water hitting lava rock. You're too tense, too worried about not saying enough or too much; saying the wrong thing or saying the right thing only once and never living up to the expectation of repeated occurrences.

"Hey," Emily says from behind you. You turn to see her jogging up to stand beside you, brushing off her pants and adjusting her jacket. "You brought wine!" She cheers happily, reaching past you to turn the nob and open the door.

She gestures you inside, making no comment about your obvious hesitance. With her by your side, your nerves are calmed. Aside from Aaron, she's the easiest for you to be around. You don't feel any expectations with Emily. She doesn't talk too much or too little, doesn't push, doesn't ever send a pitying look when you opt out of activities outside of work.

"Château Lafite," you say to her, lifting the wine and shaking it gently in the air as you walk inside.

"Oh! Fancy wine."

"Wine?" Rossi asks, rounding a corner. He's dressed slightly more casually in a soft sweater and jeans, drying his hands off with a pristine dish towel. "The more the merrier, bring it in here."

You follow his gesture back into the kitchen, leaving Emily to go to what you presume is the living or dining area.

"Where did you find this?" Rossi asks, taking the wine from you to examine it and letting out a low whistle as he appreciates it.

"Just my local winery," you say, neglecting to admit that you go there often enough that the owner leaves the nicer stuff behind the counter for you.

Lonely nights crave wine, twisting them into lovely things you can appreciate. You enjoy your own company after years of quietly observing others. You've learned how to observe yourself, too, after all of these years.

And, even though you don't quite realize it, the self-awareness carries like confidence. That's what Aaron sees in you: observant eyes darting across a room and noticing everything, understanding flickering before anyone else catches a cue, deft movements across the paper while taking notes, and swift motions always with a purpose.

It's what he sees now, hands in the pockets of his dark jeans while he leans in the doorway of Rossi's kitchen, watching you. How could he not? You're a lovely creature, always begging for his eyes to settle on you for another second, and then another.

He knows the moment you realize he's in the room, minutes before Rossi. You stand straighter, tilt your chin lower, and are aware far before you tilt your head to the side to send him a soft smile. He returns it before Rossi can catch him. It's a warmth he wants to reserve for you.

"Dave," he interrupts the other man's monologuing about the wine he's sure you already know all about, "Jack would like to know if he and Spencer can use your chess set when he gets here?"

"Of course, I'll get it from my study." Rossi leaves, passing you the wine and gesturing to the opener.

Aaron steps in before you can start the process of opening the wine. He doesn't quite know why, but he wants to do it for you. He finds himself wanting that more and more recently: to do simple tasks for the sole purpose of you not having to do them. Opening doors and pulling out chairs are simple gestures that he did with Hayley, but he wants to do sillier, smaller, things, too. Straighten the pens on your desk back into their cup, reorganize the files on your desktop, untangle the wires of the headphones he really should reprimand you for using at your desk, open a damn bottle of wine he can't pronounce the name of but that he heard you say so gently to Emily as you walked in.

"Jack's here?" You ask, handing him the wine and crossing your arms over your chest as you lean back against the counter to watch him work.

He relishes how your eyes focus on his arms, pupils dilating, as his muscles work under his thin henley.

"Yes, I have him this weekend and he likes to spend time with Reid and Garcia."

He has to step closer to reach above you to get the wine glasses. He could ask you to step aside, tuck his hand against your waist to move you himself, or simply walk into the next room to grab the glasses sitting on the table. But, instead, he tucks one foot in between yours, puts one hand on the back of your head to guard it from the cabinet, and opens it to find the nicer crystal there.

Your breath hitches across his neck and he remembers the chaste kisses he's given you before. Nothing serious, nothing has been yet because he's waiting for you to lead him into that, but tantalizing nonetheless. He steps back to pour the wine, standing closer to you than he started.

A little for you, passed gently, and then a little for him. Dave could pour his own glass.

You take the wine and sip it slowly, tongue darting out to taste before you sip. He's reminded of communion as a child. The blood of christ, sacred, something to be tasted but not meant to satiate. Reverence in a sip, devotion in a small act.

He wants to give you the same thing. The desire hits him in the sternum, suddenly, leaving him winded as he watches you lower the glass. Your eyes are locked on his, you haven't seemed as hesitant about holding his gaze recently - something that makes him melt - and he wonders if you can feel how he wants to take care of you. How he wants to show you the same force that water uses to carve canyons. Persistence and pressure, time and care. He's willing to take his time, he's filled with the same patience as everything all together in nature. He's a rabbit perched on its hind legs, sniffing the wind for safety before darting forward; the bird hung in flight between beats of wings, the whisper of wind carrying small seeds miles away to wait and watch the growth. Wait, wait, wait, however long it takes, he's there. For you.

It's a strong feeling to fully realize in David Rossi's kitchen, but he's grateful for it, anyway.

"It's good," you comment softly, eyes smiling.

"Is it?" He asks, setting his glass down and retaking his spot nearer to you. He misses your warmth. "Can I?" He asks, brushing his fingers across your jugular before cupping your cheek.

"Taste the wine?" You tease, eyes flickering to his glass. The gentle jest pulls a chuckle from his chest. Another thing you've become more comfortable doing around him. His blood and bones sing at how familiar you can be with him.

"Yes," he says in a breath, dipping his head down to brush his lips against yours.

And you're reciprocating - you've always reciprocated, enthusiastically, just never in the pressing way you are now. You set down your own glass to hold his arms in both of your hands. Fingers dig into his arm as you sigh and open your mouth, new lands to explore, tilting your head back to grant him full access.

"Daddy?" Jack asks and Aaron pulls away, a man parched and staring at an oasis in the middle of a desert, before Jack can round the corner. He doesn't go far, though, hand traveling down to the small of your back as he turns.

"Jack?" Aaron replies, waiting for him to come around the corner.

"Hello," Jack says, stopping in the doorway and looking up at you with wide eyes.

You've met him a few times before, always in passing, but you still smile warmly and wave at him.

"Hi, Jack."

"Do you know how to play chess?" Jacks asks. Aaron smiles at the eagerness on his son's face.

"Yes, I do. Would you like to play?"

"Yes please!" Jack jumps forward to grab your hand, pulling you into the living room before you can react.

You go easily, though, following him with a gentle laugh that warms the coldest parts of him. Pieces of him he doesn't think have seen the light in years brighten at the sound. He's heard you laugh before but something about the sight of you laughing because of Jack illuminates needs that he didn't even know he had. Needs you're meeting before he can feel the yawning desire of them.

He follows, unable to resist the desire to see you two interact over and over again. You're setting up the board, listening to Jack chatter on, nodding intently.

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