#but I REALLY like that meta and wanted to figure out a way to make it work!

[secriden]

tongrak and his 'i'm about to have glorious jealousy-induced possessive!kink sex' shirt

lets talk about how tongrak puts on the same shirt. sets the scene up so that mahasamut is going to come find him. clearly at least encourages if not instigates the drink with another man. smiles when the other man holds his hand and only pulls away once he knows mahasamut is watching.

(i love the implication that mahasamut was glaring SO HARD the guy noticed him in his periphery and knew it was because of tongrak)

when mahasamut slams his hand against the wall over his head, tongrak visibly shuffles his feet forward whilst leaning back against the wall so he's even smaller/shorter than mahasamut. claims to have been touched at his waist and thigh (...?? when??). grasps at mahasamut's shirt as if to pull him closer even as he's shaking (in fear? excitement? both?). literally does that thing where he moans into the kiss.

then has the audacity to bite his lips and smile possibly the most smug smile ever as he remembers the moment.

[skrunksthatwunk]

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

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

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

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

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

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

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

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

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

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

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

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

[freakinator]

yknow with tthe whole cc!kab rping an actual character rather than just being herself with extra steps thing i should prbs talk about her character in a different way compared to other lsers cause it feels wrong to talk about her in the same way that i do for the others when she plays in such a significantly different way

[starry-bi-sky]

@bianca-hooks123

YOU ARE VERY SWEET TY FOR THE COMPLIMENTS (I always love seeing you in my activity feeds btw)

ignore how long it took me to reply i had a hectic week and weekend and replying to posts takes a lot of mental effort compared to reblogging them jhladsf

ALSO YES I WILL NEVER PASS UP AN OPPORTUNITY TO MAKE DANNY A LONG-HAIRED PUNK AND GIVE HIM PIERCINGS. It is law. I must do it. In some way or another he wILL have long hair or an alternative style.

He swept Kon off his feet with a cock-eyed smile, a pair of blue eyes that could swallow you whole, and some very, very well-timed humor. For the following week that Danny is in Metropolis, he's consistently texting Kon, and vice-versa, or walking around the city with him.

Lil Damian is maybe just a taaad angry about his brother's attention being elsewhere, but he's (steadily developing into) a clingy six-year old and Danny makes it up to him for it by showing him the new places that Kon brought him to, going to places Damian wants, and spending extra long time with him during their Arabic-English learning sessions.

On another note, I have less written thoughts and moreso doodles I did yesterday inspired by this au. THat's. Literally just how I imagine Phantom's ghost form (in this specific thread) looks (post-clone revelation) and Danny.

Never not gonna pass up the opportunity to give Danny a scarf if I can. They're cool :] and it adds a little flare. It leaves a little particle trail of stars behind him when the scarf moves, and when he's stagnant they kinda just float around him. It's also got a hood, but I hate drawing hoods so by the powers vested in me, I've decided that he can just summon the hood out of existence whenever he wants with a single flick of his hand when he motions pulling it up.

It does the batkid shadow blob thing where it casts his entire face in shadows, other than his eyes and, sometimes, his mouth whenever he smiles. Creepy mfer. As he deserves :]

He does indeed, have a forked tongue. It's green. I was this 👌 close to giving him a tongue piercing for the extra flare. Kill Kon a little bit more while I was at it. His ears are a little longer/sharper as Phantom and tend to move/pin back/prick up/swivel around when he's listening to things. As Danny, his ears are shorter and have the same range of movement as a human.

I like to think he eventually has this little travel-sized satchel thing strapped to his other thigh or his waist, close to his thermos, and it's basically just a small portal into his lair. He can reach into it and pull anything out so long as its in his lair. Bottomless pit bag-lite.

I also like to imagine he develops a habit of frosting over/hiding mirrors after finding out he's a clone when his identity issues get especially bad. But that's neither here nor there.

Danny, meeting Batman as Phantom: *spiderman point* THANKS FOR THE ANXIETY DISORDER, YOU FUCK. Batman: ????? what Danny, refusing to elaborate: *disappears*

Danny's a total teaser though. Btw. Like he can't handle being flirted with but goddamn is he one mean flirter. Even if it's sometimes unintentional. He takes his natural witty banter, amps it up by eleven, and watches Kon's face turn pink like a lion watching a gazelle limp across the savanna.

One of the times Kon makes a comment on his eyes, it's to say, through a stammering voice: "Jesus-- you have eyes that could swallow a man whole." after Danny said something vaguely flirty and then watched him intently.

Which, it's not the first time someone's commented on his eyes -- even before his accident, strangers and teachers used to say that he had the brightest blue eyes they'd ever seen. They were creepy; pretty; unsettling; boring into you. A random fortune teller at the mall who was somehow even crazier than his parents, who reeked of burned wood and cheap incense, pointed at his face and ominously slurred that he had the eyes of a ghost.

(He was six at the time, and never forgot about it.)

-- it's one of the few times it's said with an uncontrollable, flustered smile and a dark blush on the commenter's face. It's one of the few times it's said as a compliment, and it's so different and so bizarre compared to the usual things he hears, that Danny tumbles straight into loud, belly-laughter. He catches his breath long enough to stumble out a confused; "Th- thank you?" that flushes Kon's face an even darker shade of red, and tilts him into more laughter.

Which, Kon is one to talk, Danny could say the same about him.

Kon knowing about the ghost stuff in Amity Park. If only for the interaction of him visiting Danny for the first time, watching a fight break out from across the street in the local tech store (Technus got out) and after the fight ends, Kon goes, mostly to himself; "I didn't know Amity had a villain problem."

Danny appears beside him suddenly, his hair even messier than usual, holding a venti-sized cup of expresso (he terrifies the newbie baristas at the nearby starbucks, they all know him by name), and sporting a brand new shiner around his eye that, when questioned, says he "forgot to duck" and then doesn't elaborate on, and blandly states: "Most don't."

Whenever he's on call with Kon, Danny complains about the ghosts like one complains about the weather. Which isn't out of the norm for cities with villains and heroes, Kon's heard all about it from Tim (and he's done it himself), but it's a little different hearing it from a 'civilian' perspective.

Kon: how long has this been going on?? Danny, sprawled over his beanbag chair and painting his nails, Damian is Elsewhere: going on about threeee--? Yeah -- wait-- yeah, no, three years now. Almost four. Danny: Ghosts began popping up at the start of my freshman year, and they've become a constant ever since. Danny: It's a pretty big shock for newcomers since Amity does a fantastic job of keeping it on the downlow so we don't tank tourist sales, and most people usually keep touch on places like Metropolis, Central City, Star City, etcetera... since that's where the more legacy heroes are. Kon: huh Danny: yeah, I would've warned you beforehand had I known you were going to visit, *half-hearted glare* but late is better than never I suppose. Danny: take your time processing. Dames needed a minute too when he moved in with us, but he's been acclimating really well to... well, everything. So if a six year old can process the reality of ghosts, I'm sure you can too. Kon, sarcastically: wow, thanks.

Also Kon asks about Phantom, and Danny is thrown for a loop for a minute. Not because Kon's asking about Phantom -- it quickly rings for him that ofc Kon would ask him about the guy fighting off all the ghosts -- but because he is abruptly made aware of the fact, that talking about himself is fucking weird.

People don't ask Danny Fenton about the Phantom. Nobody is going to ask the ghost hunter's kid who runs away at the first sight of a ghost about the ghost kid. Especially when his parents explicitly state every chance they get how much they despise the ghost kid.

So the first time Kon asks about Phantom, Danny opens his mouth to respond, and then goes "oh what the fuck". Because trying to describe himself without being too descriptive or all-knowing about it is hard, and also just weird in general.

He rubs his neck and makes an uncertain noise, and goes; "Hhn, I'm not really the person to ask about that, Connor. I don't stick around ghost fights long enough to see him that much, and my parents would ground me until I died if they found out I was hanging around him at all."

(which is actually sorta based in canon! when the GIW were investigating the area during the Gregor episode, they went to the Fentons and told the parents they had reason to believe that their son was friends with the ghost kid. Maddie and Jack looked visibly upset by this, and when Jack called for Danny, he used the all-too-well-known parental tone of "you are in SO much trouble, young man")

Then he shrugs, and settles back into his chair, "Phantom doesn't really stick around after ghost fights anyways, from what I've heard. He's pretty shy; doesn't really talk to the living."

I am thinking about these two SO much

Over 900 prompt

Okay I love the Danny is a clone of Batman aus but I've never seen this done.

Danny and Kon dating and Then Danny learning his parents cloned Batman thinking he is a ghost only to find out he isn't and kept Danny as their kid.

Just think of the hilarious reactions

Caue this immediately popped into my head.

Kon: *muffled screaming into Tim's couch*

Tim: ....you good?

Kon: danny is the clone of Batman

Tim: ...

Kon: I'm the clone of Superman

Tim:...

Kon: AND WE ARE DATING!

[luludeluluramblings]

Smalltown!Neglected!Meta!Reader x Yandere!Batfam ☁️ Part Three

☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️

Part One ☁️ Part Two ☁️ Part Four ☁️ Part Five ☁️ Part Six ☁️ Part Seven ☁️ Part Eight

☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️

A/N: I’m realizing I’m struggling to find a good breaking point for reader, cause I want reader to break. I’m terrible at coming up with conflict though. (I’m not much of a writer, but I’m trying.)

A/N: There will be Romantic Yanderes. But, we’ll get to that later when we talk about each yandere. (Most will be platonic or start platonically at least.)

A/N: Hopefully y’all are noticing that Reader is in this constant state of just trying to cope. (If I wrote it correctly, that is.)

Warning(s): Yandere themes, Obsessive behavior

☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️

So, Reader’s childhood crush shows up looking fine and kind

Alfred informs the others of the unexpected guest.

Bruce isn’t home, Damian is out with Jon. Stephanie and Cass are busy in Gotham, Duke’s out on Patrol, Dick’s in Bludhaven, Jason meeting this guy is a bad idea, and Barbara’s at work.

Tim, being the only one home on a rare break (in reality working cases in the Batcave) is practically ordered to scope this guy out.

Which annoys Tim, because Reader is just fawning over their old crush and the truck.

The truck is surprising, not something he expected Reader to want. But, reader is practically crying over it.

Tim would have just brushed it off, but he notices how this guy keeps touching reader.

Practically clings to Reader. Even sniffing unaware teary eyed reader. (Teary eyed reader is…. Cute.)

Tim makes eye contact with this guy, and he looks… smug. Like he won the grand prize.

And, it pisses Tim off. (Why is he so smug? What does he know that I don’t?)

Childhood crush isn’t staying long, he’s going to catch a flight back to the smalltown.

Reader happily offers to drive him to the airport and Tim just hops in the backseat of the truck. (Why? Oh, I just want to get out of the manor for a bit. Hope you don’t mind.)

Childhood crush is peeved, but hides it from Reader. (Tim can tell. He’s a detective, it’s his job.)

The entire ride is Reader and Childhood crush reminiscing and catching up on smalltown gossip.

Tim is listening in on everything with intrest, realizing he knows practically NOTHING about reader. (Didn’t bother researching cause he was pissed and didn’t consider reader worth the effort when he had more important things to do.)

Now, he’s getting to see a side of Reader that no one in Gotham has really seen yet.

Reader is funny, approachable, a hint of a flirt, apparently sings, loves to spend time with people they care about, and a slight geek.

Tim is a bit entranced/intrigued. But, his biggest concern is Childhood crush.

Why is this guy so possessive of reader? What does he know that Tim doesn’t? Something’s amiss, and he’s going to figure it out.

(And, maybe he should get to know Reader some more. They’re trying to make him feel comfortable in the truck, including him in conversation, sharing happy memories and information with him, willingly. It’s nice. It’s soothing.)

Eventually, Childhood crush is dropped off at the airport. But, not after he tells reader, there will always be a place back home for them and to come home soon. We miss you. I miss you. Come Home.

The ride back to the manor is done in comfortable silence. Or, at least, to Reader.

For Tim, he has a lot to think about.

What does he know about Reader? What more is there to Reader? He wants to know more. He wants to know everything.

He asks questions on the way back, occasionally breaking the silence.

Reader happily answers, expecting this will change things between them.

It does for Tim, but not as much for Reader.

Tim jumps into discovering everything he can as soon as he gets back to the BatComputer, but he’s not ignoring reader anymore. He’s almost friendly. (He’s still busy as mess. Not much time to hangout.)

Which makes reader feel better, because Duke and Cassandra disappear for about two weeks after that. (Mission.)

Reader worries and wonders where they are.

Bruce says the two are taking a ‘small vacation��.

(Reader knows he’s probably lying, but in the off chance he isn’t, Reader feels a bit put out.)

Reader is really leaning on those phone calls to their friends and family. They spend hours talking on the phone while pacing the halls, their room, and the garden.

Everyone back in the town wants them home. They miss Reader soooo much. They just understand reader more than these rich city people.

They can’t wait for reader to come home visit.

Damian and Reader eventually have a confrontation.

Damian finds Reader cooking in the kitchen.

(Alfred lets Reader cook, and Reader helps occasionally with dinner and meals.)

Reader offers food to Damian, a peace offering.

Damian, obviously, rejects it.

Doesn’t matter that he’s vegetarian or if he’s not hungry, he was going to reject it regardless.

And then he verbally tears into reader.

Insulting everything about them, the food, their actions, their attitude, their clothing.

Nothing is off limits. (Damian’s had a bad day and is pent up. He wants an outlet and Reader is right there and the object of most of his doubts.)

Reader shuts down. Going cold and looking startlingly blank. (Eerily reminding Damian of Batman Bruce.)

After this all attempts for Reader to bond with Damian stop.

(Sometimes you just gotta cut your losses.)

It doesn’t help that Damian one day hears Reader on the phone when they’re pacing the halls.

Talking sweetly and softly to someone in such a loving voice. Before hanging up with an ‘I love you.’

Damian initially begins to try to interrogate reader. (Who was that? Are you having relations with someone? Does Bruce know?)

Only for reader to bluntly state that they were talking to their younger brother and it’s none of Damian’s business before brushing past him.

Damian would grab at them, but he’s a bit stunned.

He knew Reader had another brother. Bruce was going to try to bring him to the manor. (Still is trying to bring him to the manor.)

But, now doubts start to creep in.

Because he wants that. That unconditional love Reader so willingly gives to their brother.

He wants that love. He wants someone to say ‘I love you’ to him like it’s as easy as breathing.

Damian brushes it off at the moment, but it sits with him. (He’ll fix things eventually. He’ll apologize. He’ll have that one day. He will.)

[deadsetobsessions]

Woo! I’ve finally got time to write! Had to go to a wedding, suffered through eight whole hours of pure disorganized mess, and got mad about it. Emphasis on the disorganized part. So, I bring you: party planner!Danny Phantom.

——

If anyone was to see him now, they’d definitely think that it was odd that Danny was the one in the party planning field. They wouldn’t be surprised if it was Jazz, but Danny ‘wing it’ Fenton planning things? Never.

But here he was, clipboard in hand and checking off hors d’œuvres from the list.

“Anton, could you do a check of the sound system? Make sure everything’s working?”

“Got it.”

Danny lifted the buffet table, laden with heavy food, and used a bit of his ghostly strength to move it over.

“Perfect.”

He double checked the seating chart, and readjusted the miniature ice sculpture centerpieces he made for the party.

Wayne Manor was all lit up and perfectly dusted. Danny ran through his mental checklist. Tabled? Check. Dance floor clean and scuff free? Check. DJ booth and open bar running without issues? Check. Live band setting up with back up instruments and strings? Check. Decorations on point? Oh, he’ll have to get the team to readjust those.

Time to check-

“Danny! How’s it going?” Bruce Wayne beamed and slung an arm around his shoulder.

Danny smiled politely. “Mr. Wayne. Everything is going smoothly. Would you like to check the food the chefs have made?”

“Sure, sure! I definitely need to eat before I drink, haha!”

“That’s a good idea! Good thing you’re about to try a bunch of food.” Danny matched the billionaire’s energy. He’s going to get paid so good.

“So, Danny, are you going to college?”

Danny passed him a small sampler. “Ah, I can’t. Some stuff happened in high school and I don’t really have the grades or the money to.”

Plus, his credentials were in another plane of existence and he hadn’t figured out how to transfer those records yet.

“You could still attend college, I’m sure! Your parents might be able to help pay?” Bruce nommed on the food. He gave a thumbs up.

Danny sighed. “It’s not always an option. Plus, my parents are dead.”

In this universe. His own? Alive and kicking GIW ass.

“Oh, I see-”

“Father.”

“Woah!” Danny blinked, looking down at the baby Wayne the popped up next to his father’s elbow.

“Damian! What’s wrong, kiddo?”

Damian shot his father a flat glare and dragged the laughing billionaire away.

Danny snorted and returned to his tasks. He has to check the speeches and the lighting. Hm… he doesn’t have time to adjust everything how he wants it.

Good thing he knew a guy that could stop time.

“Hey, Clockwork?”

——

“Father, I understand your inclination towards adopting poor black haired and blue eyed orphans, but I would like to remind you that I have far too many siblings to be adding yet another bumbling buffoon.”

“I was not considering that, Damian.”

Damian let go of his wrist with a grimace. “Denial is not becoming of a Wayne, Father.”

“Yeah, B. I could see you grab the adoption papers from all the way over here.” Tim adjusted his tie. “Anyways, Dick is on his way. He’s running a little late because of some stuff in Blüdhaven.”

“Thank you, Tim.”

——

“Batman.”

“Oracle.”

“Look at the footage of Wayne manor.” Oracle pulled up the video surveillance scattered through out the manor. Specifically, the ones of the west ballroom. Daniel Fenton stood in his spot, looking down at his clipboard but a second later, he's moved three inches to the left and the decorations had subtly been moved more aesthetic spots. "I think Danny might be a meta. We'll have to look into him."

Batman stood up, allowing the fondness he had for Danny as Bruce Wayne drain away. This is a potential threat, and Batman will treat him like one. (Danny will remember this.)

"Contact Flash. I need him to scan for any temporal disturbance."

"Understood."

——

"Brucie!" A socialite squealed as she came to bestow hugs upon a long suffering Bruce. "My god, this place is gorgeous! You must give me your planner's number. I could absolutely use some fresh eyes for the Annual Spring Party."

"Awe, Janine! I gotta keep some of the good things to myself!" Bruce whined, inwardly smirking as he saw his kids mock-gagging behind the lady's back. "What if your party's cooler than mine? What should I do then? You're already so gorgeous! Why, is that a Birkin?"

Janine lit up and all but forgot about getting Danny's contact information. Bruce patted his own back for a job well done, even if he had to listen to Janine's itemized list of random luxury goods she had to buy before being offered a bag.

He's a Wayne. The Gotham Hermes wished they could partner with the Waynes. Plus, he's pretty sure he's got at least three of those bags somewhere in the manor to bait out Selina.

Catching Danny sliding in between the servers and going towards the kitchen, Bruce quickly excused himself with a disarming himbo grin.

Time to subtly grill the kid.

——

"Hey, Timmy?"

"Hello, Dick," Tim smiled elegantly at the couple who's companies he was about to bring six feet underground and excused himself. "What's up?"

"Have you noticed that the ice sculptures haven't melted at all?"

Tim blinked, eyes sliding over to a harried Danny being followed by Bruce on a mission. Oof.

"Freeze?" He asked mildly, face innocent of any nefarious thoughts.

"That's what I'm thinking." Dick smiled sunnily, throwing an arm around Tim's shoulders.

"Heard the guy's living out near Crime Alley. We should get Jay to check it out." Tim pretended to laugh, grinning as his brains made plans for a stakeout.

"Heard, my ass. You totally stalked him, didn't you?"

"Got proof?"

Dick snorted, removing his arm. "Nope. I'll let Jay know. You should probably help Danny out, though, he looks like he's about to lose his temper."

"Bruce is at it again." Tim sighed. "Yeah, okay."

[heliianth]

mini meta because i cant get this fucking scene out of my brain:

its one of my fav Alluka scenes because its a sneak peek into her frankly miraculous emotional intelligence that simultaneously contextualizes it. She's still a little kid. Alluka is a smart cookie who can properly recognize and identify what people are feeling, can generally guess why they're feeling it, and get an idea of what would make them happy. But that "feeling" is hate for her, and what would make them happy is her disappearing. Really heartbreaking.

but the way Killua responds is also pretty fascinating to me? like, he pivots so fucking hard LOL. And I get it, it's such a loaded question. Would the Zoldycks be happier if Alluka was gone? Realistically, the answer is no... but admitting that would require a self-awareness about his family and his abuse Killua doesn't have yet. He probably doesn't even know how to answer, doesn't know what the answer even is.

So instead of digging into that can of worms, Killua cocks his own shotgun and fires back another loaded question: "If I were the only one who loved you in the whole world... would that make you sad?"

There were like a dozen other, much safer ways to both avoid this question and comfort Alluka. It's not even a full dodge, it's directly related to Alluka's fear via implication (the rest of the family doesn't love you). And it's not like Killua hasn't verbally weaseled his way out of tougher conversations. So... why?

I'm gonna try to truncate my full thoughts because I literally have a WIP 5k+ meta about it and I don't want to go down that rabbit hole, but Killua projects onto Alluka and Nanika a lot in this arc. Keeping that in mind, I think this question is his best, most earnest way of comforting Alluka because this train of thought is what's comforted him in the past.

I mean, think about it. Someone who will love and accept you no matter who you are or what you've done? Just one person who doesn't care? He's putting himself in the position of Alluka's Gon-figure here. And if you buy into that, the followup—"I'll always be there for you. Don't worry about anyone else"—reveals how a portion of his subconscious saw his emotionally dependent relationship with Gon as well; that is, as a comforting means to psychologically avoid confronting harder questions about himself, his upbringing, or how other people view him. It's kind of no coincidence that the minute Gon is wholly and totally incapacitated and Killua starts mucking around with the revolutionary idea of boundaries, he immediately starts thinking about his family again (in some manner).

And as an indulgent aside, I want to point out that when he ends up sending Nanika—who is, unlike Alluka, a subject of Killua's darker and more self-hating projections—away and Alluka fights back instead of internalizing it, Killua immediately recognizes the irrationality...

...because it breaks the mirror.

anyway. squeezes and shakes them like squeaky toys

[inbarfink]

Any analysis of how Undertale deals with Pacifism and how it tries to guide the Player towards it has to take a deep look at Papyrus. Because Papyrus is the one character in the game who will never kill, the one actual ‘True Pacifist’ in the game’s main cast. 

I mean, the Player can be an even bigger Pacifist. Papyrus does still FIGHT, and the Player can get through an entire run without draining a single sliver of HP. But… they can also be the world’s biggest murderbastard and literally stab reality to death. 

Toriel would very much like to not kill, but she is also fully capable of doing so.

Same with Asgore, but he has a lot more actual blood on his hands. Undyne and Mettaton are both fully 100% willing to kill to accomplish their goals. Sans is non-violent in most runs because he’s too lazy and depressed to do anything, and when he is motivated into actions - it is in the form of a FIGHT to the death. Alphys… the timeline is a bit fuzzy cause both she and Mettaton love lying so much, but it seems like she did sincerely add deadly weapons to Mettaton cause killing humans would make him more 'useful' and then had second thoughts once she developed a parasocial relationship with the Human Child and THEN she and Mettaton started hatching their little play-acting plan. I think??

With Papyrus there is NONE of this ambiguity, we know for sure - no matter what timeline or what may come - The Great Papyrus will always choose MERCY.

And the interesting thing about that is on a Meta-Sense, Papyrus is a very rare example of the game giving MERCY towards the Player. 

Because the game starts out being really obtuse with the Sparing mechanic and how it works. If you want to be a Pacifist in Undertale from the get-go, you’re gonna have to work for it. You're gonna have to figure it out on your own and commit to it and believe that it's possible. It's basically a test of your own belief in non-violence and your moral integrity. Then, the RUINS end with the Toriel boss battle - in a way, that’s probably the hardest Sparing puzzle in the whole game. And it’s very very easy to accidentally kill her. (I’d almost say that’s the intention of the battle, to try to goad the Player into Resetting so they can see how the game remembers across RESETs)

And then we have Papyrus, and it’s not just that his ‘Sparing Puzzle’ is something as simple as outlasting him and letting him run out of dialogue - and it’s not just that he’s the only boss that will just give up and let you continue if you lose to him enough times. it’s also that, just as Papyrus is the only boss incapable of accidentally killing the Player - he’s also the only boss that the player is incapable of accidentally killing.

(Okay, fine, to be pedantic, there’s also Asgore)

I mean, the Player can certainly kill him if they want to - but draining Papyrus’s HP just makes him skip through his battle dialogue right to the end of it. It’s designed in such a way that, no matter what Route you're on and no matter what approach you take with Papyrus - you will always end up on this screen.

Unlike basically any other Monster in this game, including the major boss battle just before him - you can’t kill Papyrus accidently. You can't kill him without also having Sparing him as an option. The game kinda treats killing Papyrus as one of the Worst Things You Can Do because killing Papyrus will always be a deliberate, considered action done to a person who will not kill you and who has stopped wanting to FIGHT and has extended a hand of Mercy. With the game clearly communicating what you need to do to Spare him at that moment.

And that means that - even if you killed before, even if you don’t have the patience of a True Pacifist, even if you spent all this time in the game without even trying to engage with the Sparing mechanic… as long as you don’t want to be a Huge Rat Bastard, the game is basically gifting you with the very very easy option to not be. Being a Pacifist in Undertale is usually a challenge - a puzzle to be solved, a test to pass. But as long as you aren’t intentionally trying to be the Worst Person - the game is basically giving you Papyrus. 

If you accept his Mercy, you are accepting the game’s Mercy. That sort of benefit-of-the-doubt assumption that maybe all of the LOVE you might have accumulated so far was all due to honest mistakes or panic or an attempt in self-defense. That you still deserve this one chance to prove that you are not intentionally, maliciously cruel - or at least not like the Worst Person in the World. Even if you did kill before, you still deserve at least one friend.

And Sparing Papyrus leads you to his wonderful Hangout/Dating Sequence and to his Phone Calls and they all add so much wholesome charm to the Undertale experience and no matter what happens Papyrus will always think the best of the Player and he will always trust them and it also makes Sans also kinda your buddy by default. And more than just adding a little bit of wholesome charm into even the more LOVE-filled Playthroughs, I think this is meant to try and incentivize these players into trying out the Mercy mechanic a bit more.

Whatever it’s, like, for future playthroughs or Resetting the game right there to try a True Pacifist Run right there and then or just trying to be a little kinder for the rest of this current playthrough - especially since there’s an emphasis about the close friendship Papyrus has with the upcoming boss Undyne, and to a lesser extent with his idol and next-next boss battle Mettaton. It’s like “well, if you didn’t figure out how to spare before, this is how you do it? And isn’t it nice to have a friend? Isn’t it nice to not have to kill this lovable skeleton man? You should do this more often wink wink nudge nudge!”

And it’s like… all of Papyrus’ loved ones care about him so much but they also look down on his pacifism. They see his inability to kill and desire to make friends as simple naivete and that’s why all tend to hide the truth from him all the time. About what will happen to the Human he will capture, about what his new Human friend might’ve done, about the fact that they view him as so naïve. 

They admire it on some level, that’s why they want to protect it, but they also see it as a weakness which is why they want to protect it by lying to him all the time. But, you know, Undyne says that if Papyrus goes into battle he’ll be ‘ripped into little smiling shreds’ and that is certainly what happens every time a Player chooses to refuse Papyrus’ Mercy and the game’s Mercy and press that FIGHT button…

But have you thought about all the times that doesn’t happen? All the careless or violent players who were offered that skeletal hand of friendship, accepted it and then carried that offered kindness forward for the rest of the game? All the players motivated to do good for the sake of their buddy Papyrus? All the Murder Routes stopped because the player just didn’t have it in them to kill someone who believes in them so earnestly?

Like, no, it’s not a surefire thing - especially since Papyrus has so much less narrative power than the Actual Unkillable Time God that is the Player. But it happened, and it happened many many times to many players. Papyrus offered Mercy, the game offered Mercy. And much like Frisk’s Pacifism, it comes from a place of seeing the honest goodness in your ‘enemy’ and can inspire them to become a better person - this little sparkle of goodness being passed forwards. 

And I think that’s beautiful, even if it didn’t happen in every timeline. Any potential future where Papyrus’ kindness can have such an effect on the Player and thus the entire trajectory of the Underground validates his kindness and pacifism on some level - even if there are also always the potential worlds that it backfires completely. 

And there’s also one other way in which the Great Papyrus Proves Pacifism Pays. One that is a bit more practical, perhaps. And one that Papyrus himself is not even aware of. 

Papyrus’ boss battle can be a surprisingly challenging one specifically because he is the only one who doesn’t kill the Player.

Like there is a reason why Papyrus will just offer you to skip his Fight after you lose to him three times, because if he didn’t do that - there’s an honest risk that the Player can get stuck in a much stuckier way than anywhere else in the game. 

Because, like, for basically any other character in the game, being killed is the Worst Thing that could ever happen to them. For everyone except the actual Player Character because we are an Actual Unkillable Time God and dying is nothing more than a minor annoyance that sets you back to your last SAVE Point. So, leaving aside Papyrus’ admirably kind intentions - there is not much material difference from the Player’s perspective between getting Captured and getting a more traditional GAME OVER. Except…

Except getting Captured does not undo everything that happened in your inventory during the battle. In every other Undertale battle, if you use all of your items but still lose - the GAME OVER at least means you get your stuff back. But because Papyrus doesn’t kill you, any healing item you’ve used during the battle is still used. I have watched so many Undertale Let’s Players waste all of their valuable items on their first Papyrus battle and then have to face him again without them and thus do even worse in their second go… and then their third go... and thankfully then Papyrus offers them to skip the fight.

And while that technically can be circumvented by just manually closing the game and opening it back again on their pre-battle SAVE Point, a lot of players are gonna reflexively Save over it if they pop over to the Shop or the Snowed Inn before their second attempt at the battle. If Papyrus didn’t offer that chance to skip his battle, it could’ve easily become a softlock situation for a huge chunk of players - because he doesn’t kill the Player.

Most of Undertale deals with the value of non-violence from a standpoint of morality and kindness and personal connections. Since most people do die when they get killed. But when dealing with an Unkillable Time God like the Player, Papyrus proves that not-killing might actually be the most practical solution.

Of course, it doesn’t seem like Papyrus is aware of any of this. From his perspective, he is just offering genuine mercy to a being just as ephemeral as he is. But it accidentally turned into one of the most effective methods of blocking the Player’s way… at least he didn’t offer us an opt out so soon after that. 

And it’s interesting when comparing him to how his brother Sans - one of the few people actually aware of the existence of SAVEs and RESETs - deals with the Player. Because the Sans boss battle at the end of the Murder Route is entirely based on the concept that death is nothing but an annoyance to the Player. Sans is less trying to kill the Player (the way Undyne the Undying did), he is simply trying to annoy the Player into a ragequit. But he is still killing the Player.

Now imagine a Sans battle where he has all of his usual annoying tricks, but also instead of killing you - he captures you just like his brother would’ve in a happier timeline. And while it’s not a fool-proof plan to stop the Player in their tracks - he could very easily stick them in that sort of softlock situation where they have to battle him again and again without any Healing Items. Forcing them to either abandon the game or RESET the whole world back the way it was - just like Sans wants them too. 

But instead, by killing the Player, he is just allowing that perfect second-third-fourth-fifth-sixth-try where they get all of their Stuff back. And he does actually knows that. And why doesn’t he do that? (Speaking here from an in-universe character study perspective. Obviously the Doylist answer is that the game doesn’t want to Softlock you even in the most deliberately-frustrating part of the game).

Maybe, even though he intellectually knows that killing the Player will be of no help - he still does it because he wants to. Because he just wants to get back at the evil murderous monster that took his brother from him and destroyed his entire world even if he knows it’s actually ineffective. And this thirst for bloodshed is, ironically, blinding him from a new exciting way to actually practically stop that murderous bastard who is themself motivated entirely by bloodshed. 

Maybe he just can’t do something like that. Reducing an enemy to exactly one HP and then stopping is not a feat anyone else in the game is capable of pulling off - even the ones who would obviously use such a thing (like Toriel or a Player with a Pacifist intentions). Maybe it’s something that requires a lot of hard practice and discipline and carefulness, that Sans never thought to put in because he didn’t see it as a useful skill the way Papyrus did. 

Maybe that wouldn’t have worked anyways. After all, and that’s something I kinda touched on in a previous Overly Long Rambly Hot Take - Sans’ War of Attrition against the Player is greatly helped by the fact he can’t remember every single previous try and so he can’t get exhausted the way the Player can get. Obviously, without a GAME OVER induced RESET that will not apply. Which is especially notable because… Sans’ laziness is literally what brings him down at the end of that Boss Battle. 

So maybe, while Papyrus, as long as you decline his offer to skip the battle, is capable of offering just the same Battle as before over and over and over again.... It’s possible that Sans just won’t be able to pull off two or three or more battles of the same intensity and difficulty in a row without a RESET to undo his own exhaustion. 

But I think it’s at least worth considering the option, y’know? That after all this time of viewing Papyrus’ kindness as sweet-and-yet-kinda-foolish-naïveté - that exact viewpoint made Sans overlook the perfect solution to dealing with his little Murderous Time God problem. Cause he just never considered that while killing might be fully morally justifiable in this situation and very very satisfying, that does not necessarily mean it is actually the most practical solution. And that maybe, in a weirdly twisted way, Pacifism WAS the answer.  

[linddzz]

I intended to write out ONE scene for the early days of Team Hextech, but these dweebs completely derailed me into an entirely different scene by establishing nicknames.

So here's a teaser of sorts for the wider fic @amahhi and I are working on, which is going to be snapshots through their years together and also a way for me to shove every Jayvik meta I have into one manifesto.

Stage 1: let me sell you on the whole nickname thing with Academy Dorks. Pure pre-relationship fluff and dork4dork energy. Nothing bad is ever gonna happen to these cuties.

------------------

It is surprising, how easily things come together.

Surprising in how Viktor has now been around Jayce Talis for over 72 hours (it is currently at 79) and he has, at no point, felt an urge to knock Jayce out with a sharp swing to the back of the head so that Viktor could have a moment to himself. Surprising in the fact that he is not actually surprised by this. Nothing could surprise him now, when the euphoria fills his veins like nothing he's known before. 

There is the magic. Of course there's the magic. The blue glow like a lightning flash caught behind his eyes and burned forever into his mind. There could not be anything but the magic now. Yet it was everything else that came with the magic as well. The freshly assigned lab that is, truthfully, hardly more than an old office with the furniture shoved out of it. The chalkboard being pilfered from the library in the middle of the night, because the single pathetic one the lab came with was a joke. 

There is Jayce. Jayce, who is the magic, the spark, the surge of life and energy. Jayce laughing in little hitched noises that his stifling only turns into absurd wheezing, because they couldn't fit the stolen chalkboard out of the library at first, not until Viktor made him knock the whole thing over so they could remove the wheels. Which, of course, had to be put back on immediately after they got the thing through the doors.

"We're going to end up exiled anyway after this." Jayce whispered far too loudly, sitting on the wet stone of the Academy courtyard, fully illuminated by a street lamp to screw the wheels back on because Viktor's flashlight flickered dark after five minutes.

"Fine." Viktor hisses back, "at least we will have an actual chalkboard." Which is a nothing statement, but it makes Jayce curl in on himself with another fit of little hiccuping giggles, so that's alright.

"I don't think they'll let us take the board, V."

That causes Viktor to pause for approximately half a second, considering. "Is that a nickname?"

The little hitching laughs stop, which is a shame. Jayce clears his throat and goes back to tightening the wheel in place. "Uh. I guess? Sorry, is that ok?"

"You misunderstand. I've never been given a nickname before." Viktor taps his fingers on his cane, looking up at nothing as he examines how he feels about getting his first nickname.

"Oh yeah?" He can't tell if Jayce is secretly pitying him or not, but it doesn't sound like he is. "What do you think of it?"

Viktor tilts his head one way, and then another, feeling his face pull into a grimace. He doesn't want to accidentally hurt Jayce's feelings, but he does not think that insincerely given adoration of the nickname would be a good early mark for the relationship. 

He intends on keeping himself in Jayce's life for however long his own lasts, by any means necessary. It's going to be a learning curve, figuring out how to have someone like him for that long, but he doesn't think lying or even stretching the truth is how he should accomplish this goal.

"Woah," Jayce says, and when Viktor looks down the other man is sitting, ass still fully on the wet paving stones, staring up at Viktor with sincere fascination and the beginnings of a grin. "You really hate that, huh?"

"No." He doesn't. Which he doesn't realize until he says so, but it's true, he doesn't hate it. "I am still deciding, don't rush me."

"Don't tell me you're grading my nicknames, V." Jayce huffs, and he shuffles himself through a puddle to get the last wheel on the last leg of their stolen goods. "I'm gonna have a panic attack over nicknames. And then I'm gonna have nightmares about the fact that I had a panic attack over a nickname, instead of over stealing Academy property. Hey. How come I've done more crimes in three days with you than I ever had in my life?"

"That seems like it is your problem." Viktor points out, leaning with both hands on his cane now, watching some curls of mist under the street lamp as he continues mulling over his first nickname. It's been given to him by Jayce Talis, who gave Viktor magic and who is now soaking his ass on the ground so that Viktor can have a better chalkboard. It seems a small price to pay.

"Yes." He decides, nodding. "It's fine."

"That sounds like one ringing endorsement."

"You wanted my opinion. Honestly? It eh, lacks creativity."

"What did I say about grading my nicknames?"

"Plural? No no, you get one."

"Hardass." Jayce grumbles, pulling first himself and then the chalkboard back up with little effort. Which is impressive, as it is not a small board. "What about me?"

"Hm?" Viktor is already moving, tugging the board around to make sure the wheels are all even.

"Come on, fair's fair. What's my nickname?" 

When Viktor looks up - intending to point out that making a nickname for a name which is already a single syllable is counterintuitive - Jayce is at the other end of the board, grinning a blinding and crooked grin. His hair is a mess, with the mist depositing little gleaming drops of diamonds against the black. There's an eagerness, nearly a hunger, in his bright hazel eyes as he waits for Viktor's nickname. All of that, beaming at him from the other side of the board that Jayce agreed to steal at an obscene hour of the night for him. There are dimples.

"Lásko." He says, as naturally as a heartbeat, as easily as blinking. It's hardly a revelation for him. Viktor has already spent 77 of the past 79 hours reconfiguring his ideological stances on the concept of soulmates. 

Jayce snorts, his grin falling, but not into a shocked disgust or even displeasure at the foreign sound. Instead, he sets his formidable jawline forward and pouts.

"I want a do over. That sounds so much cooler." He groans.

Ask me what it means. 

Scratch that. Do not ask me that. However long one is supposed to wait before saying love, I am sure that I am under that mark. 

"No do overs. Even I know that about nicknames."

"You don't make the nickname rules! You never even had one before!"

"No do overs."

"Ok! Fine! Congrats on being stuck with V!"

[oltammefru]

Civilight Eterna is an incredibly incredibly interesting character, and has so so much going on so I thought I'd share my read on her. First off, Civilight Eterna isn't Theresa. Like, at all. In her dialogue, she repeatedly says she's not Theresa, talks about Theresa as a person distinct from her, and seems uncomfortable when the Doctor treats her as if she is Theresa.

The way I see it, she is actually far more like Kal'tsit and Amiya than she is Theresa. Once you accept that, I think Civilight Eterna becomes an incredibly, incredibly interesting character who provides a large amount of great characterization to Theresa.

The real Theresa is dead and gone and erased forever now, but ironically, if anything, after ep14, the narrative is far more haunted by Theresa than it ever was. For the most part, no one is particularly happy with CE being on the landship as she is: for Kal'tsit, who had finally come to terms with her grief and loss, all CE really does is dredge up all the pain and sorrow and hatred she felt about Theresa's death.

For the Doctor, she is a source of self-doubt and guilt over their past sins.

There's also an interesting contrast between her and the Doctor, as CE spells out, with one of them being an existence entirely of memory, and the other having none at all.

Amiya is mostly ok about her, but even for her, CE a reminder of who and what she has lost. She sees CE and understands and sees her not as Theresa, but as something else, but because of her resemblance to Theresa, she can't help but be reminded that Theresa is gone, and she won't be able to see anything she's done or gone through anymore.

Theresa, herself, is gone for good now, but the shadow of her last deed hangs over them all. CE as a character takes the enormous background presence Theresa has in the narrative and she makes it a lot more personal than it already is. As a character, CE takes the ghost of Theresa that's been haunting the narrative in the background and drags it kicking and screaming into the forefront, forcing the main trio to confront it.

The person most haunted by Theresa is Civilight Eterna herself. She was made with the purpose being a replica or substitute of Theresa, with the memories of Theresa, but she's really not her, and she's in fact quite bothered by such a concept. The impression I get from her files is that her arc as a character (provided they give her continued story content and don't just throw her by the wayside) is mostly about her struggles to find an identity for herself beyond the one she was assigned and was made to be (which very much parallels much of Amiya's struggles throughout the her entire character arc!)

In most of the story, Theresa is framed as this, almost mythical, larger-than-life figure, who you hear of often and her legacy greatly influences everything that unfolds, without actually appearing except in brief glimpses and flashbacks (until the story starts peeling back the curtain on her with Babel.) For someone as existent and present as CE is, there is no way that she could actually live up to the legendary figure that Theresa was, nor does she want to. The mythos surrounding Theresa is so great that just by virtue of being made to be like Theresa, this serves to erase any identity or personhood of her own she might have (once again, parallels with Amiya.)

(This is also somewhat painfully ironic on a meta-level. If you engage with CE's content at all, it spells out the fact that she is very much not Theresa, but just because she was made to resemble her, even the playerbase of the game thinks of and sees her as Theresa!).

The thing that's juiciest about this to me is that the relationship she has with Kal'tsit. Kal'tsit is maybe the one person who can truly empathize with CE and her mode of existence: both were made and instilled with some driving, defining purpose, but wish to carve out an identity of their own; both occupy some messy, intermediate state between humanity and inhumanity; and both struggle with the risk of being subsumed by some ideal or identity far beyond what they could possibly be. But instead, Kal'tsit can't bear to see the sight of CE, she gives her the cold shoulder, and is unwilling to meet her eyes. Even if Kal'tsit does understand that CE isn't really Theresa, she can't help but see her and think of Theresa, and for CE, this is incredibly, incredibly alienating, that the one person who should be able to truly understand her and her struggles to find an identity for herself, sees her more as the person she was made in the image of and could never really be, instead of her own person.

In light of the fact that CE's files state Kal'tsit has been avoiding CE is so fucked actually, especially when you think about this in the context of Lone Trail. Lone Trail takes place over an (in-setting) year after CE shows up, and despite this, she is never been mentioned or referenced at all, even obliquely. Has Kal'tsit just been coping about it for an entire year straight*? Like, here's about how I imagine this goes: The Doctor mentions CE to Kal'tsit exactly once and immediately gets the hint to not do so. They don't get a lecture about this. They don't even get a Kal'tsit Stinkface Talksprite. She just looks, however minutely, a slight bit more tired and sad. And so that's the last time they ever bring it up. And the thing is, CE has the same care and love that Theresa had, and she wants so so desperately for the people Theresa (and by extension her) cares about to be happy. And so if the only thing she can do for Kal'tsit is to remain completely out of Kal'tsit's sight, existence unacknowledged, no matter how much she might want to reach out, no matter how soulcrushing and painful it might be to do so, she would do this and bear all the pain, out of the love she has for Kal'tsit.

The main way we see Theresa characterized before Babel and Ep14 is through the things and people she's left behind: the people who lived because she died, a dream, a photo of her snuck when she wasn't looking (she was looking), a flower garden, a letter, a promise, a girl made to bear the weight of the world and an apology to her. CE is the last thing she leaves behind, her last act, her last sin before she exits the story for good. In particular, I think CE as a character is some really good final characterization for Theresa, one that serves to highlight her character flaws.

As a person, Theresa is sort of messy. I mean this specifically in the sense she is a person who does great and grand things, knowing that there will be consequences (both foreseen and unforeseen), and does them anyway, often leaving a mess in the process for others to pick up. In Warfarin's 2nd operator record: her attitude towards Theresa highlights this well, to her, no matter how noble her ideals and how good her intentions might be, the fact of the matter is that she is starting a civil war who which will get people killed. In this regard, I think her creation of CE fits her character perfectly. What she does in episode 14: finally being able to free the Sarkaz from the shackles of Originium, and making CE as a final act of care to Amiya, fulfilling her promise to Amiya to always be with her, but making a huge mess in the process, serves as a perfect capstone to Theresa as a character. Even though she is now gone, the effects of her last choice and legacy still hang over those who knew her.

*Of course it could also be that they wrote LT at a time where there were no plans to have CE be a character at all, but especially when it comes to things like this, HG does generally write things years ahead of time. The ending of Lone Trail does feel very much like it was written with Babel already in mind, and Vigilo was also clearly written with Babel in mind (see: Memoria specifically) despite being released several years before Babel.

[azfell-ajcrowley]

Something we didn't notice (part 2)

part 1

Overall, the meta is based on close observation of Aziraphale (for the most part) and Crowley. Without speculation or trying to guess what we haven't been shown (well, almost).

The Metatron makes it clear that he is watching Aziraphale delivering the "good news". Aziraphale looks back at him.

The first thing I'd like to explain. The Metatron is talking to Muriel, and then he stares at the window of the bookshop duplicating that gaze toward Crowley. The frame changes and we see Aziraphale looking out the same window, just for a second, but he will do it repeatedly.

As Crowley starts his monologue, Aziraphale tries to stop him by gesturing for him not to say too much, while looking out the window himself. Aziraphale continues to turn to the window with every meaningful attempt to speak.

Let's also note that Aziraphale doesn't usually behave in a similar way in conversations with Crowley. Yes, Aziraphale is characterised by active gesticulation, but the constant pauses, averting his eyes from the interlocutor, nervous and jerky movements - these are messengers that angel is holding something back, hiding or simply doesn't want to tell. Most often we see this Aziraphale in conversations with the leadership - God and Archangels.

https://commonmexicanname.tumblr.com/post/734305363759890432/good-omens-thoughts

Here's a prime example, comparing his interaction with Archangels when he's caught off guard and frantically trying to figure out how to get out of the situation.

I don't think Aziraphale is just lying to Crowley here, no. He just has an audience beyond Crowley. He tries to tell everything, knowing he has more than one viewer.

When Aziraphale mentions the Metatron, he is not just hinting, he points his index fingers - one at the window, another at Heaven, and then in a distinctly active quick motion once more at the WINDOW.

And again - turns his face to the window at the words about Gabriel failing, and then tilts his head towards the transparent panes of the bookshop.

The conversation with the Metatron is important, among other things, to assess Aziraphale's behaviour when Crowley is mentioned by his superiors. At the words about their partnership Aziraphale looks frightened: his facial muscles are tense, his forehead and eyebrows are furrowed, and there is a terror in his eyes.

When the God's spokesman concludes his really suspicious speech, Aziraphale swallows nervously and averts his eyes. He certainly doesn't look like someone who's been offered the fulfilment of his cherished dream. And not like someone who believes it.

Aziraphale looks like someone who has just found out what an enormous amount of incriminating information is in his opponent's possession.

"Tell me you said no. Tell me you said NO." Crowley is definitely shocked and horrified, he thinks the best of his angel. He can't believe what's going on (and he isn't supposed to).

Aziraphale turns his head towards the window again as an answer.

He actually said:

And

We see him right before he walks into the bookshop, he never says yes to the Metatron.

Aziraphale utters his most delusional words while looking out the window. Of course, they're not meant for Crowley. Aziraphale hasn't believed it for a long time, Crowley even more so.

And then Crowley says "Oh, God", without correcting himself afterwards, because this demon can only hope in God here.

For a second Aziraphale has a look of hope on his face that Crowley has realised what he's getting at. Then Aziraphale realises that Crowley is trying to confess. He's waited for so long not to realise. He was about to confess too.

Aziraphale already knows everything Crowley is about to tell him, but more importantly, literally everyone already knows it. It's impossible to stay and start pretending again that there's nothing between them.

Aziraphale has a completely blank stare past Crowley, and then he looks out the window. Again.

And then the most interesting thing happens. Crowley starts his line "And I would like to spend…" But he turns his head and finally looks out the window, where Aziraphale has been pointing so hard since the beginning of their conversation.

Maybe that's the reason Crowley doesn't complete the sentence. And he begins to pick up different words. Maybe not, maybe the sun from the outside is preventing him from seeing the Metatron.

In the final part of their conversation, when they move closer to the bookshop's door, Aziraphale looks towards the window again.

After "no nightingales" line he turns away to hide his feelings and pain.

The cherry on the cake is the kiss, Aziraphale is falling into the abyss. He averts his eyes trying to figure out if the Metatron could have seen what just happened.

When Crowley leaves, Aziraphale thinks he's lost him. But then, even when the Metatron walks in and says devaluing words about Crowley, Aziraphale can't tear himself away from the window, because now he can see Crowley there. Maybe not everything is lost.

Aziraphale retreats back to the clock - to the very spot where Crowley was standing a few minutes ago. He looks out the window at Crowley, as if to say, "I stand where you stood, you stand where the Metatron stood."

[dropthedemiurge]

Let Free The Curse of Taekwondo: Things you didn't notice #1

Isn't this another K-BL where I'm internally squealing because of every single detail? You bet it is. You can read my other meta/cultural detail/Korean language posts for Love for Love's Sake, Time of Fever, Grey Shelter and Boys be Brave on my pinned post or hashtags^^ (I really need to organize it under one singly hashtag tho...)

I already talked about how impressed I am with the fact that this series has done their preparation job well, with props, settings, language, history etc.

It is about a countryside/small town in Southern province of Korea - because a lot of characters use satoori (southern dialect), almost all of them except for the main two guys. There is also a distinct contrast/conflict between 'fancy Seoul rich guys' looking down on 'Southern town'. Juyoung even was surprised Dohoi doesn't use satoori.

To which, he responded with 'You'll be uncomfortable if I use it". And Juyoung said there are plenty other uncomfortable things around here, beside understanding/listening to everyone using other accent xD Confusing Gaga translation errors, we meet again!

Actually, it's interesting because Dohoi's name is written 이도회 in Korean, which typically would be written as 'Dohoi' but pronounced as 'Dohwe' (think of surname Choi that is actually pronounced as Chwe), yet in the first episode I clearly heard them actually say 'Dohoi', letter by letter. Now I wonder if it's also related to satoori... I wish I could speak it, it sounds so cool tbh.

He actually said 'I'm not in a good condition', meaning his physical form. What do you mean, mood, when was that ever an excuse in sports..?xD

By the way, what is it with boys trying to get closer to other boys by buying them unusual ice cream?:') Okay, garlic sounds more weird than red bean one :D

Also, I tried to find the Hasong town they talked about but failed - maybe because of incorrect transcription or maybe they made up this town based on Uiseong - a small town close to Daegu which is famous for being the most famous garlic town, they produce a lot of it and garlic fame would be seen everywhere - so who knows, I bet they allude to this when Juyoung said 'why can't there be a vanilla garlic ice cream? It's like a collaboration!'

Another thing, I thought the time of this series was somewhere around 1990s-2000s (because I watched a movie in similar setting that was called 1997 year but they still used pagers, now that I think about it). It was also still the time where teachers could use physical punishment on their students, it's heavily highlighted but I don't actually know around what time they stopped... Probably in Seoul, they already were getting rid of it but in small towns it was old-school teaching, which is again why Dohoi tried to tell Joyoung out of it.

I'm not familiar when small laptops and phones appeared in Seoul but I think the series is actually somewhere around 2005-2010! Which would make sense, Juyoung got the 'cool' flip-phone and a laptop with Windows XP (released in 2001) but small town is still far from that, as they use landline house phones to make a call.

He also has mp3 player and as other tumblr folks figured out, he was listening and dancing to Jewelry song released in 2005 :)

And another thing that convinced me about the time era... the final scene!

Do you want to know why at the end of Ep 1 Dohoi smiled and laughed and ran to Juyoung even after so many exhausting days and neverending small miseries and a new loud housemate?

Because Juyoung not only came to pick him up with an umbrella in the acid rain, he also reenacted the famous umbrella scene from the classic romantic K-drama called "Temptation of Wolves" (늑대의 유���) which was released in 2004! To make Dohoi laugh.

(Yes, when Juyoung intentionally put the umbrella down and the camera cut the shot to the framing when the umbrella slowly lifts up, showing smiling Juyoung, I was like 'you did nooooooot' xD)

(last screenshots taken from @heretherebedork post, I'm sorry I am very lazy and cannot take a good screenshot for life :'))

So that was already our very first romantic teasing-implication!

Another cute thing: optimistic Joyoung wrote a diary entry into the fake old Korean "Facebook" (they had Cyworld instead) to share his first selfie with Dohoi:

"[Excited Shin Jjuyoung]" (typing in a popular back then teenage style) "I miss you guys... But here it's nice too hehe ^___^ Come to play with me!! Together with my friend Dohoi too~~!"

Aren't they the cuteestttttt? I mean, this dynamic is not new but I love how unique the setting is. And I can't wait to watch the second episode, I'm waiting and savoring the first one for now but I'm going to make notes about other episodes as well so stay tuned! If you reply/comment in tags, I will put you in my tag list^^

Tag list: @benkaben @pickletrip @troubled-mind

[halemerry]

I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

[feroluce]

Not to make everything about my ship, but if I don't do it no one will, so today we are making meta analysis of Boothill's faceoff match about henghill, because the differences between Boothill's stand off with Luka and his one with Dan Heng- and what you can infer about Boothill himself and what catches his eye in a person- makes me chew concrete.

JUST. I loved the scene between Luka and Boothill so much. I love how wildly unrestrained Boothill is. He really just shoved the barrel of his gun in his opponent's face and put the fear of death into him as a way to test Luka's resolve. I utterly adore him. I hope he does it again. Anyway.

When confronted with all this, Luka freezes. His stress-induced hallucinations were already bad, but you can see how they really ramp up in this match, because before, they were always something familiar. Previous enemies became Silvermanes, or Belobogian automatons, or even Cocolia. Luka is far from home for the first time in his life, and he's so terribly homesick his brain is making everything familiar, because that is what he's desperately craving right now.

But Boothill.

Boothill is something so new, and unique, and horrific and terrifying, that he becomes something entirely unknown to Luka. His hallucination manifests as Something Unto Death, as the very fear of death itself.

And this stand off (which I love so much that this is how this match progressed, because like that's literally just Boothill's in-game skill; he locks the enemy into a one-on-one duel, so this was extremely in character for him) lasts long enough that Owlbert starts having to fill in the silence over the loudspeaker,

and even Boothill himself starts trying to push Luka into making a decision one way or the other.

Given that Boothill is a hunter by trade and is proven to have all the patience to track his prey and then some, this was more for Luka's sake than any impatience on his part, to try to shove him out of his freeze reaction.

And Boothill isn't really hard to read throughout this whole exchange, he all but says outright what he's looking for.

Boothill wants to see him surpass this test and come at him! You can see it in his face when Luka finally takes a step! And in how he congratulates him!

And then he fucking shot him snxhsjksjsn

Boothill admires courage, and bravery, and decisiveness. He admires a person's ability to put their life on the line and still fight in the face of danger and overwhelming odds. Those are the things that catch his eye.

And Luka does kind of get there eventually, but it is a stalling, halting motion that gets him there, and he fell to pieces immediately afterwards. This is his first time with this, and he's still figuring it out.

Dan Heng, on the other hand.

Boothill's stand off with Dan Heng from 2.2 is so fucking far in the total opposite direction that it is HILARIOUS.

Boothill literally breaks into the Astral Express, ambushes Dan Heng, and Dan Heng still has the balls to not only demand info out of Boothill- like doesn't even ask nicely, demands it- he also just straight up calls Boothill a liar. Right to his face! And he still isn't nice about it!!

By the way, that entire conversation? This is how it takes place.

Boothill, phrasing!!

Boothill has him at gunpoint! Dan Heng does not have his weapon with him! He does not flinch, and even stands there with his arms crossed seeming simultaneously pissed and utterly unimpressed. He looks like he should be irritably tapping his foot and looking down his nose at him. Dan Heng could not give less of a shit.

For that matter, Dan Heng even turns his back and walks away from Boothill- right in the middle of him talking, too! Not a single attempt to be considerate of the man who could decide any moment he feels like decorating the wall with Dan Heng's brains.

Dan Heng is brave and courageous and completely unflappable in the face of danger. He is ruthless and decisive in how he conducts himself, even when staring down the barrel of a gun. And through his efforts in Penacony, he shows the ability to put his life on the line and fight through overwhelming odds to save his once-in-a-lifetime companions.

No wonder Dan Heng caught Boothill's eye the way he did, no wonder the two of them were working together and bantering not even minutes after Boothill pulled a gun on him haha

[erinwantstowrite]

there is an uptick of people thinking that bruce like. emotionally manipulated peter in LoF? i should clarify that bruce did not do that??

(potential spoilers below)

he didn't know that spooking peter would be related to a trauma response, and peter ultimately wasn't mad at him for that. peter and bruce have been messing with each other since they met and peter started it (hello orphan joke that peter made the first time he spoke to batman). what he was really upset about was that bruce figured out the plan to tell his identity AND get around the spider sense. bruce was letting him know what he was walking into should he do that right then and there.

bruce was very much right that peter wouldn't go near the manor until he was comfortable with bruce, an adult he had only a few points of contact with atp. (also bruce still doesn't know that peter had stalked him and red robin in that one scene and that because of it, peter did know some things about batman and bruce.) even if he was comfortable with the rest of them, they'd have had a hard time getting him near the cave. peter is flighty and he often leaps before he looks. bruce has experience with like all 85 of his children being the same, but specifically when dick was peter's age

it wasn't emotional manipulation, he was just presenting himself in a way that made it easier for peter to feel comfortable around him and that he could trust batman. that's why they played tag of all things. peter would have been a lot more distrusting if bruce hadn't made that step. imagine the conversation about dick being peter's parent, but peter is five seconds away from trying to leave because he's in batman's house

i should also make sure everyone remembered peter's conversation with benny about why batman "doesn't allow metas":

it's a rule to protect metas from shit like this. AND it's to prevent superheroes that don't understand Gotham or how it works coming in and trying to "fix" everything only to make it worse. agree or not, i think it's pretty clear that batman doesn't actually have a problem with metas. he works with them (justice league, DUKE is on his team for crying out loud) but he's paranoid.

this isn't an angry post btw!! i'm just confused by some comments and a few asks i've gotten recently. i'm just making sure everyone here knows that bruce made a guess that peter would want to be on more equal terms with batman, and he was right. he's made a lot of mistakes in the past with not doing that (look at ALL of his robins. especially jason and steph) and he's learned from that

also. it's batman. he's gonna do that in the most dramatic way possible

[sitepathos]

What if on the night of our death Alfred really did come back. Like perhaps a feeling or an urge to return before his vacation was up feeling that something was happening something bad. And he discovers us missing from the manor and found out the others got a ransom call but brushed it off. Would it change the current events , if so what happens ?

Look, if you were to say Alfred has the Meta Gene, I’d believe it. Honestly, that would explain how he’s strong enough to carry all of Wayne Manor and the Batfamily on his back. Batman is called the Greatest Detective in the World, but Alfred is the true holder of the title. He can tell something’s wrong with you just by seeing how you walk and trust me, nothing escapes his gaze.

Anyway, let’s just say he decided to come home the night you’re kidnapped. And oh boy, does shit get real.

In this scenario, he gets back sometime after the Bats left the cave, which was just after the phone call. The moment he walks through that door, he knows something is wrong right away. You’ve heard of Spider Senses, well, this is Alfred Senses and when something is wrong in his house, he knows it instantly, be it something breaking, a mess, or something concerning a family member.

And as he’s able to track all of the Bats on the Batcomputer in the Cave, he knows something has a happened to you and he can feel a few years being shaved off his life. While he’s pulling up your location on the computer, he sees the house recently received a call from an unknown number and when he listens to the recording (I’m positive Bruce records every call made to and from the landlines), his heart stops altogether.

And when he sees the number came from a burner phone, meaning there’s no way of tracking it, he loses it, beating himself up for leaving when he knew the family wouldn’t give you the proper attention and care. Luckily for him, your phone is still active and broadcasting your location, giving him a sliver of hope.

The signal is coming from My Alibi, meaning you’re probably surrounded by thugs. And with the Bats busy looking for Joker, that means he’s on his own.

When I say this man has an arsenal of firearms that would make Jason jealous, it’s no exaggeration. He puts on a bulletproof vest, loads up with his trusty shotgun, multiple pistols, and a dozen different kind of grenades, and drives off in his car like a bat out of hell (pun intended). I mean, this man would make John Wick afraid for his life.

When he gets there, he’s ready to wage war on everyone in that building and raze it to the ground. He storms in there, ready to shoot at the first person to look at him funny, but is greeted by a total massacre; everyone in the building is dead.

He finally locates the source of the slaughter: a figure in black armor cornering three men in the back of the bar. He watches in awe as the figure kills the man he’s holding by the neck before swiftly killing the other two, leaving only him and this creature.

When it turns, he raises his shotgun, ready to fill it full of lead—

“Alfred,” it says in a familiar voice. That’s when the armor disappears, revealing you, staring at him in total shock. “Why are you here?”

“Master Y/N,” he whispers, quickly lowering his weapon for fear of it accidentally going off and hurting you.

The entire time, he feared for your life, afraid that by the time he reached you, he’d find you dead and he would have to go through another funeral for one of his grandchildren. But, here you are, alive and unharmed.

It doesn’t matter that you just slaughtered all the bar’s patrons, everyone in here was common scum and the world is better off without them.

He takes a step towards you, wanting nothing more than to take you in his arms and never let go, to bring you back to the manor and put this awful night behind both of you.

That’s when you turn sprout a pair of wings and burst through the ceiling, flying away from him as fast as you can, you face horrified that the man you love and respect more than anyone else in the world has just seen you murder over a dozen people in a single evening.