#but i'm impatient lol

[five-and-dimes]

As You Always Were

A very silly fic based on a convo I had with @gabessquishytum about Dream being an idiot but in a gender affirming way lol

Read on AO3

~~~~~~~~~

Hob felt like a teenager in a lifetime movie, but he was choosing to lean into it.

Gripping the bathroom sink with both hands, he stared himself down in the mirror. “You can do this,” he said to his reflection, “You deserve to live your truth. You love yourself. Even if things don’t go the way you want, you’ll survive it. You’re sexy and you know it.”

Nodding to himself, he turned away from the mirror and began pacing his flat, looking for anything left to clean or organize.

He was going to come out to his boyfriend today.

It had been two months since he and Dream became official. They had known each other in some capacity for much longer. They shared a lot of mutual friends, but for a long time Dream didn’t tend to join large group get-togethers, so Hob only saw him occasionally. Then this past semester they had both ended up in a class together for the first time. Despite studying vastly different subjects, this particular course was required and both had managed to miss it when they were underclassmen. And now, as they entered their final year of university, they both needed to complete it in order to graduate. Drawn to any remotely familiar face, they had sat together, and then started talking more, and then slowly fallen for each other.

The past months had been amazing, full of sweet dates and kisses and hand holding and Dream being nothing but understanding when Hob hesitated to go any farther. But Hob wanted to go farther, had been burning out of his skin with the need to touch every part of Dream and be touched in return.

He just… needed to let Dream know what to expect when he took his clothes off.

Stalking through the living room, he moved the books on his coffee table this way and that, as if it would make any sort of difference. It’s not like it was the first time Hob had let someone know he was a trans man. He’s had plenty of experience sharing that part of his life, with family, and friends, and hookups. It’s gone good, and bad, and all the levels in between.

So why was he so nervous about telling Dream?

He was being ridiculous. It’s not like he was worried about Dream hurting him or anything…

Groaning, he put his head in his hands and allowed himself to turn and flop face-down onto the couch. What a world he lived in, where he consciously felt grateful to not worry about being murdered. Sometimes he hated everything. 

With a sigh, he pushed himself up, shaking his head and aggressively re-fluffing the pillows he had flattened with his brief pessimism. He wasn’t going to think about the world right now. This was just about him and Dream and their relationship. And, optimism aside- even just being logical and realistic in a way he so rarely was- he didn’t think things would go badly, per say. Dream was gay, and had always been an open supporter and ally for the trans community. Worst case scenario, even if Dream decided he didn’t want to date someone with Hob’s body, he was certain they could remain friends.

Turning on his heel, Hob speed walked to the kitchen and began wiping down the counters for the third time.

Could they stay friends? He wanted to say yes, to say they could move on from this little bump in the road, but the truth was, even after such a short amount of time, if they broke up Hob would be heartbroken. He had fallen hard for Dream… could he really go back to being friends with him after knowing what it was like to kiss him and hold him? What if it was too much, hurt too badly to take that step back, and then he lost not only his boyfriend, but his best friend? And their lives were so entwined, they shared much of the same friend group, would he lose them, too? Choosing Dream over him because Hob was clearly the one being ridiculous and overemotional? 

Catastrophizing, a voice that sounded suspiciously like his therapist rang in his head.

He nearly jumps out of his skin at the tentative knock on his door, glancing at the clock to see that, yes, he has spent the entire morning worrying and fussing and it is in fact the time he asked Dream to come over. 

Hob honest to God straightens his shirt. As though that will help.

What does help is opening the door and seeing the subtle way Dream brightens. No matter how stoic he tries to be, Dream has always been terrible at hiding how very fond he is of Hob, something Hob is eternally grateful for. It’s nice to have the reassurance. Especially now.

“Hello Hob,” he smiles, giving him a quick peck as Hob gestures for him to enter. He takes two steps inside before halting, raising an eyebrow as he glances around Hob’s impeccable flat. He’s been here before, he knows this isn’t the usual state of things. “It seems you were productive today.”

Hob laughed nervously, which only made Dream turn his gaze to look at him curiously, “Ah, yeah, you know, the motivation just sort of hit, haha.”

Dream frowned slightly, “Are you alright?”

Nodding rapidly, Hob starts herding Dream into the living room, “Yeah, absolutely, I just-” Dream allows him to gently push him to sit on the couch, “I mean, I am fine, there’s just something I wanted to talk to you about,” he paces in front of Dream for a moment as his boyfriend’s head moves to follow him silently, “And it’s nothing bad. Or, or at least I don’t think it is. It just… it just is, y’know?” 

He turns back to look at Dream and finds him staring, blinking slowly in carefully reigned in confusion, “No. I don’t know. What’s going on?”

Hob released a shuddering breath, dropping down to sit a respectable distance away from Dream on the couch. “Okay, I…” Hob wrung his hands together, “I had a whole speech planned, but I didn’t write it down and now I can’t remember any of my talking points, so I… I’m just gonna say it.”

Dream nodded, brow furrowed in concern as Hob closed his eyes and took a deep breath.

“I’m transgender.”

Even just saying the words made his chest feel lighter. It was out in the open now. Whatever happened, happened. 

And what happened was Dream reaching out to gently cover his tense hands with one of his own.

“Thank you for telling me.”

Opening his eyes, Hob looked over, and his breath caught in his chest at the soft smile Dream was giving him, the one he only showed Hob, “I know that must have been hard,” Dream continued, running his thumb over Hob’s knuckles, “thank you for trusting me with that.”

“So,” Hob’s voice was breathless, a smile slowly creeping onto his face, “So you’re okay with it?”

“Of course!” Dream took both of Hob’s hands into his, eyes wide and anxious in a way Hob had come to recognize meant he was afraid of being misunderstood, “Of course I’m okay with it! I’m sorry if I ever made you think I wouldn’t be. I l-...” He swallowed thickly, “I care about you so much, Hob. This doesn’t change that at all.”

Hob couldn’t help the warmth that spread through him at the cut off confession. Dream had warned him of his struggles with love, especially with “falling too fast”. Despite Hob reassuring him that Hob also had a history of falling far faster than some would deem reasonable, Dream still tiptoed around it, always wary of scaring Hob off. So it meant something that he had come so close to slipping.

“I care about you, too,” Hob leaned forward to press his forehead against Dream’s shoulder, letting out a relieved laugh, “God, I was so nervous!”

Dream pet his hair, “Understandable. I know it’s a big deal. But I promise you have nothing to worry about.”

For a few minutes they stay pressed together, Dream a comforting presence as Hob let the adrenaline bleed from him. When he finally pulled back, they smiled at each other. Before he had a chance to lean in to kiss him, Dream spoke again.

“So,” he tilted his head questioningly, “should I use she/her pronouns from now on?”

Hob could feel the record scratch in his brain. 

He opened his mouth. Closed it. Opened it again. Shook his head, “What?”

Dream frowned, “I just meant in private. I wouldn’t change pronouns in public if you’re not ready for that. I’d never want to out you. Although I’d be more than happy to support you whenever you want to begin social transitioning.”

“Transitioning?” Hob was still waiting for his brain to restart. He felt like he was in the twilight zone. Dream was smart, Dream was studying astrophysics, there was simply no way-

“I’m sorry,” Dream bit his lip nervously, “I don’t mean to make assumptions. I just want to make sure that when we’re together I refer to you as you want. Would you prefer they/them? She/they?”

“What? No. What??” Hob shook his head rapidly as he realized that no, this wasn’t a dream, this was actually happening, “No, Dream, it’s the other way around!”

“...They/she?”

“No!” And even as he yelled the word, Hob’s face split into a grin and he burst out laughing. Dream blinked in confusion, looking like he didn’t know whether to be offended or not, and it only made Hob laugh harder.

“Dream, babe, sweetheart,” Hob gasped for breath, trying to pull himself together and failing, “I’m a trans man! I’ve already transitioned, that’s what I was trying to tell you!”

For a moment Dream just stared, blinking slowly like a cat. Like a particularly dumb orange cat.

“... He/him, then?”

All Hob could do was keep laughing. 

Slowly, Dream began to giggle too, which only made Hob laugh harder, which made Dream laugh, and the vicious cycle continued until they were both doubled over with tears on their faces.

“You are the smartest person I know, how are you such a himbo?” Hob exclaimed.

“Shut up!” Dream shoved him playfully, “I was being supportive!”

Hob couldn’t resist. He threw himself forward, tackling Dream back onto the couch, allowing himself to lay on top of him as he kissed him clumsily, barely suppressing his grin enough to press their lips together, “God, I love you so much.”

A laugh caught in Dream’s throat, his eyes widening. Hob doesn’t want to pressure him, so he smiles, leaning in to rub their noses together, coaxing a soft giggle from him. He just wants to make him comfortable in the wake of a confession that he knows is a lot for Dream, he’s not expecting anything back right now.

He thinks maybe it’s that sentiment that allows Dream to look up at him and reply, “I love you, too.”

“Yeah?” Hob grinned, leaning back so he is sitting up and stradling Dream’s hips, “Even though- and I can’t believe I have to say this outloud but now I have to make absolutely sure you understand- I have a cunt?”

Dream sputtered, face flushing at Hob’s bluntness. And yet, even as he pouts, he nods, “Yes. I love you, however you are.”

“You would love me if I was a worm?” Hob teased.

Dream nodded solemnly, replying completely seriously, “I would love you if you were a worm.”

Hob’s grin softened, and he leaned down to kiss Dream again.

And then, feeling bold and brave and loved, he grinned mischievously.

“I hope you know I’ll be telling this story at our wedding.”

(Years later, Hob will end the story by telling their guests about how Dream smacked him in the face with a pillow.)

[loverdude]

This basically ended up being a second attempt at what I was sort of going for with the first one and I'm much more proud of this lol... Wanted her to be more unicorn-like...

Don't repost/use 4 anything ✨️ COMMISSION INFO

[duckydrawsart]

Ryan Gosling 🥴

[scalierpepper]

Gave my pfp a bit of a glow up!!

Neat to see the one year improvement

[shinesurge]

read my webcomic about weird monsters that love other weird monsters!

https://kiddcommander.com/

[prettysymbiosis]

come on babe we've got a video to film here

[macksartblock]

hello there sorry for the reblog spam its just that your art is in my brain ty for being so cool and inspiring <3

Hi thank you that's very sweet! No need to apologize for the reblog spam thing I don't mind lmao. Have this 2am warmup comic as thanks lol

[bambiraptorx]

nobody tell him there's actually been a total of 21 moon landings (manned and unmanned) he would have an aneurysm

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[fitzselfships]

Guys they found long bacon omg

Proshippers/adjacent dni. 100000 shark attack 🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈🦈 also Zooble self ship doubles dni

[bthump]

I’m sorry maybe I’ve misinterpreted your posts, but to clarify: Griffith selling his body to Gennon you consider rape/SA, but Grifith forcing himself on Charlotte is just "having sex"?

I'm gonna take this in the best faith possible and assume at some point I referenced one or both of these without an accompanying explanation or link to one, so here:

charlotte

gennon

That said, two things:

a) if you've already read those or similar explanatory posts and still sent this then there's no real point in engaging because we're coming at this from two different incompatible angles and I can't have a productive discussion with someone who responds to the characters as if they're real people when I'm talking about narrative framing, thematic resonance, and authorial intent.

b) I hope you didn't mean to imply that you think an adult having sex with a prepubescent child can be consensual. I can respect the position that they're both rape, even if I think that ignores the aforementioned narrative framing themes and authorial intent, but if you think I got it backwards then yikes.

[tommylovingho]

[turtledotjpeg]

[startswith0]

Frieren and Conan collab! for 2023 giveaway event in Shogakukan magazine

Both among my favorite series!! 💙✨🤍

[sysig]

i want to go on a big and elaborate date with papyrus SPECIFICALLY bc of the way u draw him bc he’s so bbg cutie patootie

PapyrACE 💚💜 Happy Valentine's Day!

[demodraws0606]

Why I am a die-hard believer that Whit is the mastermind

You know I was going to make an entire structured theory thread about it but Tumblr decided to be a little bitch and remove all my writing so I'll just kinda throw a messy list of evidence here.

Notice how Veronika's summary of Forever Dead is suspiciously similar to the secret dialogue

Notice how the main character's gender is pointed out

It's also interesting how the mysterious dialogue in the beginning who seems to be related to the hidden text (the idea of not being able to remember anymore link those two) seem to often mention the fact that they're grieving the loss of someone.

That someone most likely being Mai who seems to have suffered a tragic fate due to Teruko, which can explain the mastermind's hatred of her.

Guess who's character is linked with grief ?

(I know this is most likely about his mother but there is nothing contradicting the fact that he could be idolizing multiple dead people)

Wow it's interesting how these secret texts about Mai seem to be really idolizing her.

We can also add how the person who wrote the note to Xavier is very clearly the mastermind and how Whit's tool is a Stationery (it's spelled Stationary but i believe its a typo) which is commonly known as writing and other office materials.

Which includes paper, pens, ink, highlighters and other tools for writing

It's even made worse by the fact that the note seems to be written by a specific type of blue pen that we haven't seen anywhere in the series.

And even worse is that Charles, who knows Whit's handwriting, couldn't point out the writing is his as he couldn't access the scene of the crime due to his trauma therefore he couldn't see the note's handwriting.

It's really really interesting how the hidden text points out how they can predict everyone's behavior in a killing game and Whit's intuition is highlighted three times in this game.

Another suspicious thing is how the mastermind of the game talks about how they basically can predict anything that can happen. It's almost like how Whit jokingly predicted Arei's death.

Along with how Whit is the only one who has directly talked to the audience (him showing the papers) or how he's nudged the killing game into more interesting directions/avoided it from going off the rails.

Other exemples would be him defending Teruko/Charles in the first trial, him not revealing David's secret until the last minute (as well as the note that suspiciously pointed to Eden), him not trying to help with the fight in episode 4, him insisting that Charles and Teruko talk about their family life (aka nudging them to talk about their backstory which would entertain the audience) and other stuff i don't feel like adding.

It's also important add that Mono-TV and Whit also have similar personalities. They both don't take anything seriously and make constant jokes about the killing games, Mono-TV and Whit also act constantly incompetent and like they're a lot dumber than they actually are.

Another thing is that it's interesting how Whit opens up about his secret so easily, even though almost everyone's secrets are something they're at least flustered about and at worst completely ashamed by. If he was the mastermind, it would make sense that his secret wouldn't be anything that could ruin his character and that he could just admit easily.

Also another point, the mastermind character talks about a time when they cared so much about people and how it hurt them so much when they died. Which you can see that caring nature shine through a lot with Whit as it's possible that Whit's personnality is not actually a lie but more so a reflection of how he used to be before he went through all this alledged horrible stuff.

We can also note how the mastermind has to be one of the students and how there is an extreme likelyhood that Mono-TV saying it isn't bait because it's not actually told to the students but to us. Why would Mono-TV tell it to us and not to the students if it was a lie meant to make the game more interesting, wouldn't it be more entertaining to reveal to the students of a fake mastermind among them to get them to kill one another more easily. It's why I have no doubt someone in this class has to be the mastermind behind it.

Mono-TV also seems to not have any contact with the person controlling him which would make sense if it was someone in the killing game as they would have a hard time communicating without being caught.

(It's a stretch but it would make more sense if Mono-TV didn't know if the mastermind was one of them as if the mastermind was behind the scenes there would be no reason why it wouldn't interact with Mono-TV, although take this with a grain of salt as he could be lying)

And just really there aren't a lot of other options for the mastermind that would be compelling unless they introduce a mysterious new character.

It could be the mysterious red haired girl but everything hints towards her being dead or hurt and it being the cause for the killing game rather than her being the one behind it. There is some decent evidence that it could be her but I genuinely don't think so considering it again feels a little too obvious and doesn't work with how the story/secrets present her.

(It's just not very compelling to make your ONE mystery character the mastermind and again it would be weird considering Mono-TV telling the audience the mastermind is in cast doesn't make sense logically as he would have no reason to try and trick the audience)

Not a lot of characters in this cast can be really put into the mastermind category as they are either too obvious (teruko, veronika) or too farfetched (eden, hu etc...).

I honestly am a die hard believer that Whit is the mastermind however what's interesting to me is not If Whit is the mastermind but more so the Why ?

Which honestly might be a question for another time...

But yeah this is why I 95 pourcent believe Whit is the mastermind

If anyone has anything more to add I would be really interesting in seeing what other people have in terms of evidence.