#but actually saving the humans she genuinely loved

[joudama]

And that’s that for Veilguard. Got all the achievements and got the four main possible endings (didn’t bother with the bad ending where you do none of the side quests, everyone dies, and you end up trapped in the Fade forever with Solas).

My four Rooks:

Female Shadow Dragon elf mage - saved Minrathous - romanced Harding - punched Solas in the face

Female Antivan Crow human rogue - saved Treviso - romanced Lucanis - tricked Solas into using the fake dagger

Male Grey Warden dwarf warrior (this was originally going be a Qunari, but I couldn’t get over the yassified look of all the qunari I tried to make and I gave up) - saved Treviso - romanced Davrin (meant to romance Bellara and lol welp, that didn’t happen) - big softie who sent Solas into the Fade with the Inquisitor

Male Mourn Watch elf mage - saved Minrathous - romanced Emmrich (meant to romance Bellara or Neve and lol welp, that didn’t happen) - told the Inquisitor she could do better and made Solas go off into the Fade alone.

My Mourn Watch one is probably going to be my “canon” run, since I liked it the best (that’s not saying much) of my runs. I went with a life leeching run for him, including using the unique items that made health potions/companion heals not work, and beefed up leeching. Literally the only time I died was when my controller ran out of juice in the middle of a dragon fight. The Elgar’nan fight was over so fast I was like, “Wait, is that it?” It was like the curb stomp fight in Inquisition with Corypheus before they let you have enemies scale up with you.

And now for my thoughts. And oh boy, do I have a lot of them. Hoo.

I have…so many issues with this game. It is a very good…whatever the gaming equivalent of a popcorn flick is. It’s great if you go in with your brain turned off and enjoy all the shiny. But that’s not what I want in a Dragon Age game. I’ve been replaying DA2 - the game that DATV is basically trying to channel - while playing these, and the difference in writing quality and intricacy of plot and world building could not be more sharp. The first time I played DATV, I thought it was fine. Almost aggressively fine. I had fun with streaming the game and seeing where it went. I loved the reveals with the wolf statues. I had some major issues with the writing being as subtle as a brick to the face at times (more on my thoughts about the dialogue LATER, because oh boy), but it was serviceable. And I genuinely thought Veilguard had been robbed by not being nominated for Art Direction at the Game Awards, because say what you will, the areas are fucking gorgeous. But, even then, I was like, “Yeah, this would not have deserved a GOTY nomination had it gotten one,” and placed it at a 7 or 8 out of 10. A good enough, enjoyable game that ran well, but was not by any means GOTY material.

Then I made the mistake of playing it again, and the cracks began to show. By the time I hit the middle of Act 2 of my third run, I was just so done. I hated every time certain companions had anything to say at all. I hated that you couldn’t call people out for being a jerk but had to be the supportive nursery school teacher at all times to them. And for the first time playing any BioWare game at all, I found myself wishing I could either not recruit certain people or kick them out of camp. The cracks were beyond showing at that point, and I no longer thought the writing was even “serviceable.” Things that hadn’t seemed so bad on that first popcorn flick run suddenly became a problem - not being able to actually talk to your companions to get to know them went from “it feels more natural to have them saying this stuff while out in the field” to “what is even the point of going around the Lighthouse if all it gets me is a line spoken at me or overhearing bits of them having ACTUAL conversations?” It legitimately hurt replayability. I missed being able to actually talk to my companions, and I realized I cared more about Manfred and Assan than most of my companions because Manfred and Assan actually seemed to like interacting with me. I will take Manfred’s rock-paper-scissors game over a “hey Rook” and dead-eyed stare.

By the time I hit late act 2, I couldn’t wait for it to be over so I could delete the damn game off my hard drive…only for the last achievement I had yet to get to NOT pop when I finished the game. I looked it up and discovered it wasn’t set by triggering a certain end state, but was tied to picking some flowers in Act 2, and wanted to cry. I don’t usually 100% games, especially if I feel like some of the achievements are bullshit I don’t want to do (‘sup, MELE needing you to do some Armax Arena Spectre-level fight - I would sooner chew off my own arm than do that, as anyone who watched me stream Veilguard would have guessed watching me kvetching the whole time I was doing that Hall of Valor shit), but that was just frustrating. I decided to try to get it on a fresh run as a Mourn Watcher, since I’d heard that was one of the surprisingly good faction backgrounds, and that was a good choice. Mourn Watch became my favorite faction, when it had been Shadow Dragons until then. It added so much to a lot more conversations than I would have thought, and made it so I actually enjoyed the sadly few times you get to actually have conversations instead of eavesdropping/being talked at. I’m glad I decided to slog through one more time for that achievement, because if I’d ended it on that third run, I know I would have never played it again. It turned back into a popcorn movie again, aided by me knowing when to put on a YouTube video and watch or scroll through Bluesky instead of listening to a certain character be the fucking worst. If I ever play again, it’ll be a Mourn Watcher (I already know the Veil Jumpers and Lords of Fortune are considered, shall we say, lackluster background factions.)

Which brings me to some of the big, fundamental problems this game had.

This is not a CRPG. It’s just not. It’s an action RPG now, with the focus on “action” not “RPG.” It’s part of the whole Mass Effect-ification of Dragon Age. And I say this as a huge Mass Effect fan:

Dragon Age should not be like Mass Effect. And vice versa.

When Andromeda came out, they decided to ditch the Paragon/Renegade system, and instead went for DAI-style emotion-based options. Which seems great! More speech choices to make a more nuanced Ryder instead of picking up or down! Great! Only no! A lot of people hated it because it didn’t feel like Mass Effect. They had taken away something that had seemed like a major part of how you roll played in the series, and replaced it something very different. It was the first time they took a mechanic from one game and ported it into another, and it didn’t really go over well with a lot of ME fans because it didn’t feel like a Mass Effect mechanic.

And now with Veilguard, they basically made a Mass Effect game with a Dragon Age skin on it. And it just doesn’t work.

Combat: They copied the combat wheel from Mass Effect, but did it kind of badly. I honestly hated it because I tried to play like I do in Mass Effect - pull it up, use it to look around and get a handle on my environment, then pick an enemy or a safe space to bolt to - and the camera snapping the enemies meant I couldn’t. It drove me crazy because it was like the Mass Effect wheel but fundamentally not, and the camera drove me mad because I’d pull it up trying to find where the nearest blight boil was, and it would snap on enemies instead of just letting me look. It’s like they wanted to get rid of every little bit of tactical game play and replace with smashy smashy bang bang instead. Don’t think, don’t plan, just attack…which fits in with the popcorn flick-ness of DATV. Don’t think, just do. Turn your brain off and look at the particle effects.

Another Mass Effect-ification with regards to combat is dropping from taking 3 companions to 2. Which you need to do to have that Mass Effect style combat wheel, and the Mass Effect 3/Andromeda style primer/detonation style interaction of companion powers. It was very satisfying, but not very Dragon Age-y, and requires throwing out some of that DA lore to make it work, because now everyone uses magic-based abilities even if they aren’t mages. Assan attacks deal fire damage. You can spec a warrior who calls up a giant lightning hammer to twirl around, and…how? That’s not enchantment, that’s plain ol’ magic, and how?! Warriors didn’t deal magic-based attacks uncles their weapons where enchanted before, but now, everyone is just tossing magic attacks at everything. That’s not how the world of Thedas has worked until now, but you can’t have those flashy explosions or particle effects otherwise, so shhh, turn off your brain and don’t think, shhh. Look at the screen light up and the pretty lights. It worked in Mass Effect because they had already set up tech and biotic attacks, but there’s no way to make hitting something hard with a sword cause it to blow up and damage all the other baddies around them, so now everyone has magic. OK.

As an aside, it was also a really bad idea of get rid of how aggro worked. Dragon Age had always worked by warriors drawing aggro because they had the heavier armor (or could use taunt on enemies targeting squishy mages or rogues). Rogues had lower aggro because they had lighter armor, and could sneak. Mages had even lower aggro because they had the lightest armor and were distance fighters. DATV threw that out the window, and Rook draws all aggro because they are the only ones with a health bar. Your squad is immortal in fights, which means there’s no reason for enemies to ever target them. Which means god help you early game when mages and rogues have no real skills yet. Enjoy dodging while your companions hit the enemies with what seems like attacks as powerful as spitballs. It also means that there are times what the game tells you and the fight you just seem are completely at odds. Remember that fight with the Wrath of the Stone in Harding’s companion quest? That thing is on your ass the entire time, but then at the end of it, Rook says something along the lines of “It really hates Harding,” and…are you gaslighting me, game? That thing ignored Harding the whole damn time in favor of trying to stomp me like a cockroach. Harding did not exist to it during my fight. It had a hate boner for Rook and Rook alone, no matter what the game tried to insist on after.

Now, imagine how that would have felt if Harding actually could have been killed/knocked out during the fight, and it was only going after her? What if you couldn’t damage it if it took her down, so you had to make sure she stayed alive? Imagine how different that fight would have hit then? But no, that would mean the devs have to think about how to rez characters and how healing would work, and would mean players have to be tactical, and shh, no, no more of that, no thinking, just dodge and hit things and look at the particle effects. Shh. Have some more popcorn.

Story: DATV wants so badly to be ME2. It wants to recall the big suicide mission where you have to have everyone ready or you’ll all die. But you can’t copy what you did before and get the same flowers and results. You just can’t. You can try, and all you’ll get is diminishing returns. They tried to do the big cosmic horror of ME1, complete with a Virmire choice, then have the big final stakes of ME2, and no. You can’t follow a template and get the same greatness. That’s not how it works.

And speaking of following templates…

Romances: The romances in Veilguard are just dismal. And I think it’s because they decided to follow the Mass Effect pacing formula instead of the Dragon Age one.

Dragon Age: You start flirting in Act 1. You usually flirt with everyone because hey, why not? Some time in Act 2, things start getting serious, and you have to settle on who you want to go for. Things start to get serious, you get together, and then you get happy fun adult time with your new LI. You get the option to break it off or commit to them fully. By Act 3, you’re in a committed relationship. People comment about it. You can go to them and spend time with them - nothing major, maybe just a kiss. There might also be a special scene that’s just with them and unique to the romance. And by the end, after the lengthy amount of time that’s passed, you are Together.

Mass Effect: You start flirting in Act 1. You usually flirt with everyone because hey, why not? In Act 2, you keep on flirting with everyone. By the end, you might have to make a choice if you’re flirting too hard with everyone and the two LI options tell you to pick someone already, but you’re just picking who you’re interested in. Early in Act 3, there might be an almost kiss, but it’s mostly just the occasional anticipation of eventually boning and nothing really happens until right before the final big fight, when your LI shows up to your cabin for “oh shit, we might die in a few hours, so let’s go out with a high note” happy fun adult time. The only time you get that “committed relationship” vibes is in ME3 if you’re romanced the same character for at least one other game, and you choose to continue the relationship.

The Mass Effect pacing works in the Mass Effect trilogy because each game is only 20-40 hours long. Veilguard is a good 80 hours long. That means using that same amount of romance you use in ME is going to mean you’ve got too little butter to spread over too much bread. It’s why you have a good start for the romances in Act 1, then act 2 is a such a desert of nothing after you commit that I genuinely wondered if I’d hit the wrong option at said no at several points during the very long third act. There’s not just enough content for that long of an Act 2. Near the end everyone starts commenting on you being with them, but it’s not actually happening in the game. There’s no flirting, there are no extra scenes, and even the scene when you commit to them is based on a scene that happens with everyone, just with a romance option tacked on. The only person (of the ones I romanced, so I can’t speak to the others) who really get unique scenes was Emmerich. He actually takes you out on a unique date. It helped a lot to make Emmerich’s romance feel more fleshed out than the others. And Davrin had so many little jaunts out in the woods that those turned into romantic trips out, which added a lot to his. But Lucanis’ and Hardings? With both of them, like I said before, I genuinely wondered if I had accidentally opted out. Their romances most used the Mass Effect format, and it just doesn’t work for a game this long. BioWare knew that once, long ago, because Andromeda did not use the ME trilogy format for romances and was closer to one they used in DA. But DATV is trying to be ME2, so they used ME2’s very thin romances as a guide.

And we can all see how well that turned out.

The Executors: Fuck me, they feel like Cerberus reskinned, and I absolutely hated when Mass Effect shifted from sci-fi/Lovecraftian horror to space opera with Cerberus as the main bad guys you have to fight with the Reapers functionally falling to the background. The Executors are a secret, shadowy organization pulling strings from behind the scenes like the Shadow Broker codexes in ME2 retconned Cerberus into having been doing in ME. Ugh.

The Andromeda-ification of dialogue: Remember Peebee? Remember how she talked? Give her long hair and pointy ears, and she’s Bellara. Down even to the techno-babble. It’s like they’re trying to change magic to just “sufficiently advanced technology.” Everyone speaks in that modern, quippy style that was annoying in a game set hundreds of years in the future because it felt dated by the time the game came out (Ryder makes a Frozen joke, y’all). And it feels completely out of place in a game set in an early modern setting (I don’t think DA is medieval, honestly - it’s more a pre-industrialization/early scientific revoltution setting, so more 1500-1700s, and I’m gonna stop now). It was jarring. You can only let one quirky character break the rules about how people talk (Alistair in DAO, Varric in DA2, Cole in DAI) but when everyone does, it’s jarring. You can be anachronistic, but you have to know what you’re doing and how to do it when you do, and I’m sorry, but the current crop of BioWare writers don’t. They wrote the dialogue like it was a modern day YA novel, not a Dragon Age game. It would have been fine for a modern day urban fantasy game. It was not fine for a DA game set in the same time period as people using the four humours for “modern” medicine (remember the surgeon in DAI? Talked about the four humours? Yeah.)

OK, I did not intend to go on for this long, and I haven’t even gotten to what the game did to how religion is handled or the sociopolitical aspects of Thedas, and how they threw out so much that made Dragon Age unique in their urge to do a soft reboot, so I’m just going to end it here. I wanted to love this game, and I can only do that if I turn my brain off, and that’s not what Dragon Age should be.

[dead-salmon]

thinking ob lb2 again and i'm still so sad that it was messed up so badly when the initial themes were really great

like skadis & odin's (which skadis 2nd interlude elaborates on) selfish love, wanting the world and beings they love to continue living even if it's a cruel existence for them. the way you can compare it to surtrs selfish feelings he has for ophelia, or the love sigurd and brynhild have for one another

skadi & ortlinde being unable to understand their loved ones decisions until it's practically too late. the inability of ophelia, skadi and ortlinde to actually take action until it's much too late. napoleon serving as a symbol of hope in that regard, the rainbow finally spurring ophelia into action.

the from lostbalt manga scene of ophelia admitting that she truly had different wishes in life than where she ended up, apologising for not doing better. skadi grieving over this, over ophelia, as a mother who is in the exact same spot of being unable to leave the duty that was placed on her.

lb2 had potential man, skadi's character has so much potential. it just pisses me off that both the game and fandom reduce her to moe scathach when there's so much that could've been done with her character

[lotus-pear]

rewatched madoka magica again today bc i fucking hate myself and to absolutely no one’s surprise i went through all five stages of grief in a single evening

[wra-1-th]

the reason netflix cancelled dead boy detectives is because they're working on a show called alive girl agents btw

[licorishh]

WHAT THE CRAP IS THIS

WHAT IN THE FLYING FREAKING FRICKIN' EVERLOVING CRAP IS THIS, ACTUALLY

[moe-broey]

HEARTBREAKING

Worst Dad You Know Has an Extremely Endearing (Now) Reoccurring Character Trait

For further context: this whole FB involved Sharena and Henriette seeking out lockpickers in the Order of Heroes to open this VERY SECURELY locked box from Gustav's room that took Tina's special staff to finally crack open (or rather -- "steal" the contents out of. No one could actually break the lock!)

And the first instance of this!

It makes me wonder if he saved anything related to Sharena..........

[orchideae]

I finally came across the name for it, thank god. Yelan is specialized in tricking! It's a form of acrobatics and martial arts movement that incorporates kicks, flips, twists, and similar. This has her auto attack sequence instantly make a whole lot of sense, and also yes, she kicks her bow and reels it back in with her line in that sequence (and yes, I had to point that out very specifically). Though certainly not an expert on this, I believe the twist towards the end of her auto sequence is called a raiz. Yelan, dear one, as an archer you must have decent strength in your core and arms, but tricking needs a lot of leg strength, jesus.

[widevibratobitch]

moments like this when im really glad im a sad little cynic who always considers the worst possible outcome and never lets herself truly get comfortable and trust the good things in her life to stay there and builds her life around trying to soften the blows of the eventual disappointments just waiting around the corner lol never leaving my edgy teenager era peace and love

[reiderwriter]

Little Angel

Pairing: Spencer Reid × virgin!fem reader

Genre: SMUT, some fluff, a little tiny smidge of angst. MINORS DNI 18+

Summary: As the youngest and most innocent member of the BAU, they all take care of their little angel. When they find out just how innocent you are, though, one member takes his possession to the next level. You're his little angel, and he's determined to have you.

Warnings: loss of virginity, loss of innocence, degradation, pet names, oral sex, thigh riding, fingering, cum marking, love bites, Spencer is territorial and possessive, Dom! Spencer Reid, PinV sex, mentions breeding, but he pulls out.

A/N: We've reached Day 8 of kinktober! It's our second "long" fic, meaning there's a bit more plot to this, and the smut scene is longer too (WC is almost 7k!) I hope you love this one just as much as I did... The kinktober masterlist can be found here, and my regular masterlist is here too! If you want something specific, my requests are open ❤️

Your first three months with the BAU were a blur, and for good reason. Endless cases, back-to-back, interrupted only by the slight hint of a weekend or the ever possible death row interview. You were tired, stressed, and afraid to walk home alone at night, and absolutely satisfied. As far as you were concerned, it was all worth it to get these monsters off the streets, to help save their victims and to find out what made them tick. There was nothing else you'd rather be doing. 

The team had helped you settle in well, too. You'd joined the team after Alex Blake had left - she'd recommended you actually from the college seminars you'd taken with her. You were obviously lacking a bit of experience, so they took on two team members, and you and Kate Callahan had the great opportunity of both being the newbie. But you had a slight disadvantage of age, coming in as the youngest member of the team. You thought that might be why you'd settled in so well, in all honesty. 

Hotch and Rossi were both protective in a fatherly way. Hotch pushed you and Rossi encouraged you and that was everything you needed from them. A strong pat on the back at the end of a case and a "you did good, kid," and whatever hell they'd pushed you through, it was worth it. Morgan's tough love was brotherly, but he did a great job at getting you to relax on and off the case, reminding you to not take the work home. JJ and Kate were great mentors. It wasn't easy being women in the FBI, let alone the unit that specifically looked into some of the most misogynistic killings, rapes and abductions in the world. They both gave you tips about how to handle condescending officers, and JJ had held your hair back after you'd puked your guts up on a particularly harrowing day in the field. With Penelope, friendship was easy, and you loved talking to her about whatever hyperfixation you were on that week, loving that there was someone on your team that had filled their life with genuine joy in the face of so much horror. 

And Spencer. Honestly, you were beginning to think that you'd used Spencer as a human stuffed toy a bit too much. 

You don't know how it happened at first, just that after one of your first few cases, you'd been so elated to find a victim alive, safe but traumatised, that you'd thrown yourself into his arms the minute you got back to the precinct. 

"We did it, I thought she was going to be dead, Spencer but she isn't." Your head was pressed into his chest, you were almost surprised he even heard them, muffled as they were. If you weren't so elated, you'd have noticed the way he'd stiffened at your touch, panicking slightly before awkwardly wrapping his arms around you, too. But you pulled away before you could notice that he wasn't really used to any physical comfort, bouncing off to write up your case report. 

Spencer noticed, though. Noticed how the heat of your body made him feel comforted, the way his heart rate increased to 125 BPM from it's base rate and didn't fall back to normal for another half hour. He noticed that you smelt like jasmine and patchouli, and more importantly, he noticed that he didn't really care if you touched him, and that was new. 

It became a kind of ritual for you, finding him after a case and folding into his arms to celebrate. They were friendly hugs, after all, a sign that you'd been through hell together, and you'd made it through like avenging angels. They only lingered longer when the cases went badly. You turned to crying in his arms after you'd discovered the body of a dead street girl, Veronica, in pieces in the house of an unsub who'd committed suicide by cop moments earlier. 

"I told her she'd be safe if she talked to us, Reid. I told her we'd protect her, that I'd protect her." You were so hurt by that failure that he'd had to drive you home that night, holding your hand the entire way so you didn't feel so alone, left to fester in your guilt. 

The rest of the team had begun teasing you about the hugs, but you'd brushed them off. You hugged everyone else too, and you knew for a fact that Penelope hugged every member of the team, so there was nothing special going on between you and Spencer. No one had deigned to inform you of Spencer's germophobia and aversion to touch. 

"Gonna tell me what that's all about?" Morgan asked Spencer as you bounced away from a hug one day, leaving to remove your FBI vest. 

"What what's all about?" He replied coldly, turning away to remove his own vest, replacing it with his blazer. 

"What, you don't have a statistic for how many germs are passed between people during a hug, Kid, come on, you were practically smelling her hair." The older man's eyebrows raised in a question again, but Spencer continued to blow him off. 

"I hug people all the time, it's not a big deal." He shrugged. 

"It took you four years to return one of Penelope's hugs, and you still only do that on special occasions. That's not all the time." 

"Derek, just drop it. There's nothing going on, she just… She just does it sometimes." 

It was when you'd hugged him in the middle of the office, without a case to use as an excuse, that you noticed an underlying tension in the office. You were all celebrating, of course, Callahan had just announced her pregnancy, and you were all so happy for her. You'd heard the happy news and instantly turned and thrown yourself into Spencer's arms. Even you weren't sure why, not even questioning it until you saw the awkward glances on the other profilers' faces. You brushed it off by rushing to give each of them hugs, and running out in a mad flush, needing air, or water or something to get you out of what was looking more and more like an interrogation room. 

A few cases later, the entire team headed to O'Keefe's to celebrate. 

"To another case successfully solved," Morgan toasted, and you all joined him, lifting your glasses in triumph. 

"To the wonders of non-alcoholic beer," chimed in Kate, leaving you all laughing together. The booth was small, and as usual, you'd found yourself sat right in the arms of Spencer Reid. You hadn't intended it, honestly, having slightly avoided him recently, but you'd followed Penelope into her side of the circular table, and Reid had followed you. You were sat squished between them, your arms resting awkwardly on your lap between drinks. 

"Okay, a night of drinking is slightly boring without some games to spice things up, what do you say, hot chocolate?" Penelope said, addressing Morgan who was on her other side. 

"I'm all ears, baby girl. What were you thinking?" 

"How about twenty questions? We already know a lot about each other, let's see what we don't know?" Kate suggested, thriving off of the knowledge that as the sole sober member present, she'd hold all the cards tomorrow. 

"What, how is asking questions a game?" Reid questioned jokingly from beside you. "That's just an interrogation or a therapy session, there's no winner or loser."  

Already slightly buzzing from your drink, you turned to him and out your fingers in his lips, shushing him. 

"No time for logic in matters of the bottle, Spencer. Let's play." He pulled your fingers off him, but nodded, holding them in his grip still as you turned back to the table. 

"I'll start! JJ, are you and Will thinking of having more baby LaMontagne's?" Penelope jumped at the chance to probe her teammate, and you laughed at her enthusiasm. 

"There have been discussions, but I'll not confirm or deny yet." JJ said, taking a sip of her drink as she slyly avoided a direct answer. 

"I always forget why you were so good with the press, Miss No Answers. Okay, your turn to ask a question." 

"Okay, Morgan. Are you thinking of popping the question to Savannah anytime soon?" 

"Did she send you?" He laughed and took a drink. "If I do, she'll be the first to know." 

The game went back and forth like this for a few rounds before Penelope turned the spotlight back to you. 

"Okay, Y/N. You were a college student recently, I know you've got some wild stories. Where's the craziest place you've ever done it?" You knew Penelope didn't mean to make you uncomfortable. She was just an open person. 

But you shifted in your seat nonetheless, trying to figure out if you could answer or even if you would. Your tongue was a bit looser than you expected though, because before you could even finish thinking you just blurted it out. 

"Nowhere." 

The others blinked at you slightly before Penelope dived in with another question. 

"Is that Nowhere, Oaklahoma, or you're just not having sex in crazy places?" 

"No. I'm not… I'm not having sex. Period. Never have." You felt yourself shrink as the other members of the team awkwardly apologised for probing you so much. Really it wasn't that big of a deal, and it wasn't as if you were saving it for religious or moral reasons. But you'd not been the most popular teenager, and you'd started studying serial killers and sociopaths so early that you really hadn't wanted to get so intimate with someone else like that. 

Unbeknownst to you, Spencer's grip on his own drink had tightened ever so slightly, his heart race had picked up again, and suddenly the hand that was holding yours suddenly let you go, quietly dropping your fingers like they were glowing cinders, and he was dripping in gasoline, waiting to ignite. 

Lust. He felt sick with himself for the images that were suddenly flashing through his mind now that he knew you'd never been held in that way, trying not to fantasise about you underneath him, holding him, begging him, feeling all of him. He took another swig of his drink and politely excused himself to get another as he let himself catch some air, as the sudden realization that he wanted you - and had wanted you for quite some time now - finally hit him.

The next couple of weeks were normal, and you were thankful to have that discussion behind you. No one treated you differently, acted like you were more of a child than before, asked you how your dating life was or set you up on blind dates, which was really refreshing actually. You'd let some friends know previously, and that's all they'd done, surprised that you could live ignorant to wonders of sex without shrivelling up and dying. 

The only thing that was different was Spencer. And that wasn't really difference so much as growing more comfortable with each other. He'd rest his hand on the small of your back now in support sometimes, or have a hand slung over the back of your chair when sitting together. He was constantly at your side, especially if you were around male suspects or officers who'd taken a bit of a ballsy approach. 

You liked it, probably a bit too much. You gravitated towards him in a room filled with people, and found yourself hugging him more often, when you left a room, when you entered one, when he looked like he needed it. Which, recently, was all the time. A month went by with this increased comfort level, and soon you found yourself feeling wrong if his hands weren't on you. 

He stood close to you all the time, and you noticed the stares you were getting from everyone else. A few officers who'd approach you would apologise to him when they noticed him at your back, hand on your hip as he pulled you away. 

After one case, you could even swear that you felt more than him than you were expecting. He'd moved away slightly in between one of your hugs, but you'd pulled his arms back around you and stepped closer, pressing your back against his chest, letting your head rest on his arms. Something hard and long wedged up against your ass, and in a split second he was pulling away before you could ask him about it. He excused himself, and you felt your body burn up. It was Spencer, it was just Spencer and that wasn't because of you, it was some other reason. 

Spencer didn't know what he was doing. He grew more possessive over you by the day, and he'd honestly nearly bitten the head off an officer who asked him for your number. 

"Sorry, she doesn't have a phone." 

"But I saw her with one earlier. Look I get it she's FBI, and you guys are-" 

"Okay, so she's not interested."

"Hey, why don't you let her decide that wise guy?" 

"Oh sure, get angry I'm sure she'd love that. She's not interested, she has me." He couldn't help himself from getting in the officers face at that, and Morgan had to pull him back from the edge. 

"Wow, wow, hey, calm down." The officer stormed out, and he felt triumphant for only a second before Morgan rounded on him. 

"Whatever this thing you've got going on, Spencer, you need to get it out of your system as soon as possible." His voice was low and stern, throwing a glance over his shoulder to where you were sitting, staring confusedly through the glass at Spencer, whose eyes refused to move from your own. 

" I just wanted him to back off, she doesn't like him like that."

"No, you wanted him to back off because you've marked her like some animal marking its territory. She's not your prey, Spencer, she's our team member, now you're gonna have to get your act together and leave her alone, because we've got work to do." 

Sighing and throwing his hands through his hair again, he finally looked away from you and gathered his breath. He wanted to stop this too, this horrible perverted feeling of needing his hands on you, wanting to possess you day and night. To protect you. He just wasn't sure if he was strong enough to do that. 

The next time you all went to O'Keefe's he certainly tried. You expected him to follow you into the booth again - he didn't, sitting opposite you next to JJ. You expected him to talk to you or look at you for more than a second at a time - he didn't, avoiding most conversations entirely and keeping his eyes fixed on the bar. You certainly expected him to still be sat at the table when you returned from the bathroom, ready to slip into the seat beside him, force him to talk to you. Instead he was gone, and you scanned the rest of the bar trying to locate him. 

Something green and vile jumped you when you finally locked onto him, stood at the bar, surrounded by other women. Surrounded was maybe an exaggeration, as there were really only two of them, but they were practically draping themselves over him, and for some reason that set something alight inside of you. 

You watched them for a moment, how one of them trailed a hand up his arm as he shuddered away from their touch, the other pressing herself against the bar so her chest pushed up dramatically. The green bile in your throat carried your feet forwards, and before you knew it, you were clearing it from your throat to grab their attentions. 

"Spencer, there you are!" You brightened your tone specifically, as you locked eyes with his panicked ones. The two girls looked you up and down as you moved closer, brushing past them to climb up right into his lap on the barstool, pulling his arm around you as you pressed your ass into his crotch. 

"Are you going to introduce me to your new friends?" The smile didn't reach your eyes as you let your back rest against his chest comfortably, watching the women to see their reactions. The one touching him pulled her arm back instantly, and the other readjusted her dress before they both left silently, carrying their glasses back to wherever they came from. 

You watched them leave a little triumphantly before the green faded, and you realised what you had done. 

"Y/N…?" His voice was hesitant in your ear, and you shivered slightly before pushing off of him. 

"I'm so sorry, Spence, it just- it… looked like you were hard." You panicked again, pushing closer to him. "No, like you were in a hard situation, not that you were," your hand accidentally dropped to his crotch as you spoke your final words: "Hard."

He twitched beneath you as you finally looked down to where your hand was, as his mouth opened to say something. 

"Y/N…" was all you heard before you turned around, and fast walked to the entrance, picking your bag up quickly on the way, and then sprinted the second the cold air hit your face. 

You cursed yourself inwardly as you ran the three blocks more to your apartment, thankful that you were at least in walking (or apparently running) distance. What the hell had you been thinking? Practically sexually harassing one of your coworkers like that, grabbing his dick, albeit accidentally. 

You slammed your door shut behind you, leaning against it and sliding to the floor as you finally accepted that whatever this was with Reid, it wasn't friendship for you anymore. And you weren't sure if it had ever been. 

With your head between your legs, arms wrapped tightly around yourself, you started replaying each moment with him, each touch from the very first. How even the memory of a brush past you could excite a fire in your heart, a heat between your legs growing by the second. 

You wanted to crawl pathetically into bed and not think about him until the next morning at work,  but fate, or Doctor Spencer Reid, had other plans. 

The knock at your door was sudden and incessant, the banging starting loud, and staying consistent until you tentatively pulled it open. 

He was stood there, chest heaving, looking down at you, sweat coating his forehead. 

"Can I… Come in?" He asked, and you nodded, too stunned at his sudden appearance to tell if this was real or just your fantasy becoming a little too realistic. 

He thanked you for letting him inside, and you showed him inside, guiding him to he couch, where you took a seat opposite him. 

"I wanted to make sure you were okay, you left in a rush and…" He trailed off, eyes flicking down to your lips. His Adam's apple bobbed with his swallow, and you watched it yourself, trying to avoid meeting his eyes, as if you were a schoolgirl about to get in trouble with a disappointed teacher. 

"I'm okay." 

"Okay, that's great, that's… Great." His breaths caught up to him, and he took another deep breath and a swallow before continuing. "How about we continue that game from last time. Twenty questions?" 

You'd do anything to stop him walking out of that door, but you felt too shy to touch him again, even in the friendly ways you were used to, so you eagerly accepted. 

"Yes, that… That sounds fun, thank you." 

"Okay. Question one. Do you know why I'm here?" He asks as he shifts closer to you, still not touching, but at a proximity where it would be natural to accidentally brush against one another. 

"N-No. But I might have an idea." He nodded at your response before moving on to his next question. 

"Question two. Are you a virgin?" He didn't trip or stumble over the words, pushing them out slowly and delicately so as not to offend. 

"Yes." The lump in your throat was thick, almost as if he'd put something there that you couldn't help but choke on. 

"Question three. Do you want to remain a virgin?" 

You shook your head no, following it with your voice seconds later as he stood up from his seat, putting some distance between you. 

"Question four. Do you feel intoxicated or drunk right now?" He held himself still as you sat on the very edge of your chair, desperate to feel his hands on you now. 

"No, I only had one sip at the bar before…" He held up a hand to silence you, and you did. 

Question five. Answer me honestly. Do you like it when I touch you?" 

"Yes." Your breath was a whisper, but it was breathy, sounding almost pornographic in your neediness. 

"Question six. Do you like it when other people touch you?" 

"Do you?" His head snapped back to yours, and you froze under his gaze. "Not as much." You answered and relaxed again, pouting slightly at his lack of answer. 

"Question seven. Do you like me touching other people?" He took a step closer to you again with this question, but you continued pouting as you shook your head. 

"No. I don't." His lips quirked upwards before he could stop them, but he gathered himself together again. 

"Question eight. Do you want me to leave?" You met his eyes at that question, taking one good, hard, long look at him. You noted the tensed jaw, the clenched fists, his stiff body language, trailing your eyes over him before looking him directly in the eyes. 

"No." You let the word hang on your tongue, pulling it out a bit longer than was necessary as you watched him take in a shaky breath. 

"Question nine. Do you want me to come over there and kiss you?" 

"God, yes." He was on you in seconds, restraints gone, throwing himself back at you as his lips collided with your own. Virgin you may be, but you'd kissed men before, and it had been nothing like this. 

His hands trailed up to your hair, tipping your head back slightly so he could gain better access. He bit your lip and thrust his tongue into your mouth when you gasped, so eager to consume every part of you whole. 

You'd never felt like this before. 

He pulled away, and you tried desperately to chase his lips, even as your lungs begged you to stop. 

"Last question," he whispered in the space between you, holding the sides of your face at a distance so neither of you could be tempted to dive in for a second kiss, or a third, or fourth. "Do you want me to fuck you?" You whimpered at his words, nodding furiously as you tried to lunge at him again, but he held you firm. 

"I need you to say your answer, baby. I need to hear your consent, okay?" You nod again and open your mouth, eyes never leaving his lips as you moan out a definitive "yes."

Instead of letting your lips fall against his again, he lunges for you, grabbing your legs and hauling you up into his arms, carrying you bridal style all the way back to your bedroom. 

"Gonna do it right," he mutters to himself as he throws you down on the bed, pulling back to take off his jacket and unbutton the cuffs on his shirt, rolling the sleeves up meticulously. 

"I'm going to take care of you, Y/N, okay?" You nod at him and flush, suddenly feeling the strength of his need for you as he holds himself back. He puts his hands on you again, gently coaxing your legs apart, pushing your skirt up over your hips. Reflexively, you move your hands over yourself, covering your sensitive places with your hands. 

"Don't cover yourself." His voice is strong, deep, as he orders you, and you let your arms drop back to your side. He traces his hands up and down your legs, almost as if he were memorising every inch of your skin, how you felt under his hands. 

His hands make their way up to your panties, and you watch with baited breath as he moves you, pulling your hips up so he can let them fall down. The lace material tickles you as he pushes them past your thighs, over your knees and finally off your legs entirely, balling them up and putting them in his pocket. 

"I'm going to touch you now, okay?" He asks it like a question, but he doesn't wait for your answer, unable to hold himself back before diving straight between your legs, so desperate to taste you that he's deaf to everything else. 

His tongue connects with your sensitive area first, tracing up and down at a steady pace as his legs half-heartedly push your legs open. It's almost as if he's enjoying the pressure of your legs wrapped around him, suffocating between your thighs as he feels your pleasure build, and build. 

Eventually he pushes your hips further apart, letting himself push his face into even more of you, his tongue entering your hole as he begins fucking it in and out of you, fingers coming back up to your clit to keep up the pressure there. 

"Spencer, please, please, fuck." 

"I love it when you beg for me like a needy little slut," he whispers, holding your legs apart as he looked up at you, face slick with your arousal. Your mouth drops wide at his words, and he immediately begins to retract them. 

"I'm sorry, Y/N, if that was too far, I just got caught up -" 

"I liked it." You said, quieting him as you spread your legs a bit further apart, begging for him to continue. He smiled and dived right back in, bringing his other hand up under your dress, all the way to your chest as you kept your legs open yourself. 

He sucked your clit into his mouth, lapping up all the juices you were releasing as you moaned underneath him, bucking into his face at the memory of his degradation. 

You were a needy little slut, and you needed him to make you cum. He was more than happy to oblige. 

He kept you there for what felt like forever, drinking you in for as long as he could. You orgasmed twice before he finished, completely overstimulated by the way he was desperately fucking you with his mouth. 

He was obsessed with you, with your scent, your taste, with being the first ever person to ever touch you like this, to fuck you, to make you feel so good. Without him even realising, you're pushed to the brink for a second time, shuddering under the heat of his mouth as he drinks you in. 

He finally pulls his head up again, coming up for air as you're twitching under him. 

"Perfect, baby, so perfect for me." His lips fall down to your own, and suddenly you're tasting yourself on his tongue. It's hypnotising, and despite the pleasure you've just received, you need more, desperate to feel him on you again. 

When he pulls his mouth away, he replaces himself with his fingers, pushing them into your mouth. 

"Suck," he says and you listen, as he watches the way you lick yourself off of him. 

He unzips your dress with his free hand, carefully pulling your arms out of the sleeves and pushing your dress off your body. You trace your tongue around every ridge of his fingers, leaving no inch undiscovered. He moved you to pull the dress of, and you graciously followed, letting him do whatever he wanted to you. 

"Nice little slut, tasting herself on my fingers?" He whispered when you were finally bare, pulling his fingers from your mouth, letting the trail of spit hang between you as you moaned. 

He removed himself from over you, and moved to sit on the edge of the bed. 

"Come here. Come and sit on my lap." 

You cautiously followed his directions. You'd thought that he'd fuck you then, after spending so long getting you ready, but apart from his tie, which he was in the middle of discarding as you crawled over to him, he hadn't derobed any further. 

"That's it baby, come and sit yourself down right here." He pat his thigh and you crawled over, lowering yourself down onto his clothed leg. 

"What now, Spencer?" You stuttered the words out, heart beating as you awaited his instructions. 

"Now, I want you to rock your hips back and forth. Just like this." He grabbed your hips and started moving you against his leg, pushing you down to grind into him. 

"Spencer, wait, I don't know-" 

"I do. I know you can do it, so please try. For me." You pulled you in for a kiss, and then removed his hands from you, leaving you to rock against his thigh. 

You were unsure of the movements at first, moving slowly as you dragged your aching cunt up and down the top of his pants, watching as you saw the wet patch you were making. You moaned with each movement, growing faster and more confident as you continued. 

"That's it baby, use me to get yourself off, okay? Let me see you." He whispered in your ears, pushing your sweat-slicked hair ou of your face, holding it up for you. 

"Spencer please," you don't even know what you're asking for as you beg him, feeling that familiar bubble in your stomach grow. 

"No, you can do it. You look so beautiful like this, Y/N, so desperate for my cock, huh?" You start trying to unbutton his shirt, desperate to see more of him, to feel more of his bare skin on your own. But he stops your hands and holds them against his chest. 

"You need to ask nicely first, before trying to undress me like a needy little whore." The words should sound violent, should humiliate you, but his voice is so soft you simply move faster, moaning and desperate to cum one more time. 

"Fuck, Spencer, I'm gonna… I'm gonna…" 

"No, you're not." Before you finish, he pulls you off his leg, hauling your body back onto the bed, and laying you back down on your back. You moan in disapproval, so frustrated with the lack of release that you feel tears prick the corners of your eyes. 

"Don't cry, baby. I'll give you what you want soon." He practically rips his clothes off, pulling his vest over his head, stumbling over each button and removing his belt and pants before climbing over to you. His cock finally free you take your first glance at it. 

You'd never entirely been sure how it was that the male appendage fit inside something as small as your pussy, and you were doubly unsure about how Spencer's was ever going to fit inside you. You stared at it wide eyed, as you took in the length, the girth, and the heat of it as he stroked it in one hands, pushing on top of you. 

He let go of it as soon as he was between your legs, letting it fall onto your stomach as he crawled between your legs. He trailed a finger over your lower abdomen just around where his cock was twitching against you as his other hand came up to stroke your hair. 

"You look worried, Y/N, what's wrong?" 

"Will it, um, will it fit?" You asked, knowing how cliché you sounded. 

"We've spent the last thirty-seven minutes loosening you up with foreplay. It should fit, but I can't promise it won't hurt."

"Right, if my hymen is still intact you have to…" 

"That's right. And then it's going to reach all the way in you to here," with each word, he stepped his fingers up from your clit to where the tip of his dick sat on your stomach, letting you come to terms with exactly how full you were about to be. 

"I'm going to fill you, and you're going to be mine, and I'm going to be yours. My sweet angel." He stroked your face, catching his thumb on your lips on the way down, tempted to thrust it into your mouth again, to see just how much of a whore you could be, given the chance. 

Instead, he lined himself up with your dripping core, and, making sure one last time that this is what you wanted, slowly pushed in. 

It was uncomfortable at first, having something so wholly alien inside of you, you weren't sure how to react. You wrapped your arms around him, digging your nails in, deep, as he pushed in further. 

"Y/N, I need to move more now, and it's going to hurt a little, you just have to trust me, okay?" He kissed the top of your head, but you were so lost in the sensations to answer. With one swift jerk of his hips, he pushed through your hymen, and fully sheathed himself inside of you. He pressed small kisses everywhere on your face, while whispering to you how beautiful you were. 

"You're doing so good for me angel, I'm going to take care of you. Going to make you feel so much better than this. You're so beautiful." His lips were distractingly sweet, as were his words, and soon you found yourself relaxing into him, the sharp pain of earlier fading to an electric buzz inside of you. 

You jerked your hips up to meet his, and with that, he knew you were ready. From his words, you'd assumed that he'd move slowly in you. But with one final lingering kiss to your lips, he lifted his chest up, pinned your legs tightly down, and started thrusting hard and fast. 

"Sorry, just couldn't help myself baby. Needed to see you looking ruined underneath me." Moans spilled out of your mouth with his every movement, and the orgasm you'd built up earlier hit you like a ton of bricks, blackness hazing over your eyes as they rolled back in your head. 

"Fuck, fuck, Spencer, don't stop!" You screamed at the top of your lungs, unable to control your pitch or volume as he slammed into you desperately. He was so turned on by the sight of you beneath him, so proud of having fucked away your virginity, to have given you your very first penetrative orgasm that he wouldn't have heard anything that came out of your mouth. 

His eyes were fixated at the place between you, where you joined, where he was entering you, defiling you, claiming you, using you, breeding you. 

He knew he wouldn't cum inside of you, not the first time, but it was tempting. Instead, he chose to move his lips back to your skin. He marked you with love bites and hickeys across your neck, chest and shoulders as you moaned with every roll of his hips, shuddering on his cock. He was close. And seeing you like this, displaying all the signs that you were his and his only, he finally lost it. 

Pulling his dick out of you, he stroked it through his release, spraying his seed over the parts of your skin he hadn't bruised with love. Your stomach, your breasts, hell, one spurt even landed dangerously close to your lips, he was everywhere. You. Were. His. 

He fell beside you, panting for a few moments as you finally cracked your eyes back open, realising what the two of you had just done. You wiped the cum from your face with a stray finger, staring at it for a second before licking it off your finger. 

"As hot as that was, I think we should get you cleaned up properly, angel." He spends forever cleaning you up, carrying you to the bathroom, washing your entire body with hot water and a fresh cloth, running you a hot bath to relax your muscles. You snuggle into his chest at some point in the bath, relaxing so much into him, that you drift off to sleep. 

You feel him carry you to bed, semi-conscious, tucking you in and climbing in next to you. He holds you through the night, the way he holds you after your bad cases. He holds you until he doesn't. 

You're blindsided by the cold bed the next morning. You knew he would be there, you'd felt him inside you and next to you, and you'd needed his warmth, but he was gone. You looked for him in every other part of your home, looked for a note or an explanation, but there wasn't one. 

Through tears, you got ready for work, ready to face him and make him answer why he was suddenly gone. You wanted him to apologise, especially since he'd marked you so badly the night before you looked like a car crash victim from the neck down. 

Dark lavender blossomed along your collar bones as you looked at yourself in the mirror, trailing a finger along every place that he touched the night before. 

"How could you be so stupid?" You cursed yourself. If you'd have listened to what he was saying last night, really listened, you'd have known he wasn't going to be here in the morning. He wanted to ruin you, to possess you, to take away your virginity, and he'd done just that. 

You almost wanted to keep the bruises on display going into work, to make him confront the pain he caused you by leaving. In the end, it was the inevitable stares from everyone else that convinced you otherwise. You wouldn't give him the satisfaction. 

You pushed through the doors to the bullpen and didn't bother putting your bag down before you started scanning the room for him. 

"Where's Spencer?" You practically shouted the words at Morgan, unable to hold back your anger. 

"Y/N, what's wrong?" 

"Where is he?" You demand, and there must be something in your eyes that speaks to your devastation because Morgan shuts up and just points to the top of the stairs, where Spencer is exiting Hotch's office without a care in the world. 

You don't realise that something is tears until you're beating a hand against his chest in frustration as they spill down your face. 

"Where were you?" You demand, sobbing into his chest, as he pulls your hands away. The entire office is watching your commotion, but you don't care, you're not letting him move you out of the way. 

"Y/N, I need you to sign this." His voice is calm, and you hate him for that. That he can stay so neutral when he's just broken your heart. 

"No, not until you tell me why you left." 

"Sign the papers, Y/N, trust me." He pulls your chin up so you can look him in the eye, and you catch a glimpse of the man who has been holding you, comforting you for the last four months. You snatch the pen from him and sign the papers, thrusting them back at him with a scowl. 

He smiles as he looks down at them, placing them back on his desk before pulling you in for a long, deep kiss. You're shocked at first, but you melt into it, pulling him closer so he can't leave again. 

"I'm sorry. I had to come into the office to declare our relationship, Morgan sometimes tells me I have a one track mind, and when I woke up this morning, the one thing I wanted to do was get it in writing that you were mine." 

Your push the tears out of his face, and attempt to pull him down for another kiss. You don't get the chance, as the sound of several throats clearing around you burst your bubble. 

"Public space, no canoodling." Rossi shouts down at you from the balcony, a soft smirk on his face. 

Penelope runs in from her office, and stares wide-eyed at the lack of space between the two of you. "You! And you! Security cameras….. You!"

"Now, I'm sure there's a story here, but from the state of our little angel's neck here, I'm sure I don't want to hear it." Derek laughs, smacking Spencer on the back in praise as he walks up the stairs to the meeting room. 

You slap a hand over your neck, trying to pull the turtleneck further up to hide the mark you evidently missed. 

"She's my angel, now." Spencer calls up to him. "I have the paperwork to prove it."  

[teaboot]

TOP 10 PERSONAL FAVE MOVIES TO WATCH WHEN YOU FEEL LIKE ASS

I don't like movies that stress me out because life is already stressful but I DO love catharsis comedy found family friendship fantasy and violence so here are my top 10 movies and series to have a good time watching

Numbered for convenience but not in any particular order

John Wick 1 and 2: An ordinary man grieving the loss of his wife gets dragged back into his past as a shadowy, invisible world of international killers for hire is slowly revealed to be living among us. A love note to set design, lighting, and choreography. My favourite part is fixating on the symbolism. DO NOT WATCH 3. 4 is okay. DO NOT WATCH 3. There is a dog death in 1 that will make you cry so skip that part if you have to. DO NOT WATCH 3.

The lord of the Rings, all 3, extended edition best watched if you're on the couch with the flu and expect to fall asleep OR if it's your day off and it's raining outside OR if you have like 5 people lounging around in pajamas

Six Underground: Essentially an hour and a half long car commercial music video with found family and a fresher take on acommon plot. Ryan Reynolds essentially writes and directs a Michael Bay movie where 6 independant criminals gather together to overthrow a violent foreign dictatorship. You show up for a dumb heist and walk out ready to build a guillotine. TW for violence, car crashes, chemical warfare, and genocide. A very cathartic ending. Does unfortunately do the whole "vague, impoverished middle-eastern country" thing but the citizens are actually show as human beings which is a nice change of pace and oh wow that's depressing isn't it

The Princess Diaries 1 and 2: A sort-of-a-loser teenage girl, played by a 2001 Annie Hathaway, learns that her late father was a king of a foreign nation and must become a confident and responsible leader for his people. There is a scene in the rain where you will experience emotions. Best watched with snacks. 2 features an enemies-to-lovers type deal with Chris Pine.

Ella Enchanted: A shrek-style semi-musical fantasy romance in which a young woman is cursed at birth to do everything anyone tells her to do. Features several Queen songs and dance numbers sung by Annie Hathaway and that guy who plays the sad dog guy in Hannibal.

Stardust: A huge loser travels from 1800s England (?) to a magical world in order to fetch a fallen star for the insufferable love of his life before she marries a massive douchebag. The huge loser? Charlie Cox. The star? A living person. Also a whole bunch of princes are ALSO looking for them as a race for the throne while discreetly killing each other off. And also a bunch of witches want to eat her so they can be young and sexy. 11/10. I used to watch this 10 minutes at a time on a YouTube channel that posted it in chunks filmed on a digital camera in their living room

The Last Holiday: Queen Latifah, playing someone played by Queen Latifah, has been working an underappreciated minimum wage job for years, living a safe and conservative life trying to lose weight and save money. Then she finds out she has months to live, and decides to finally quit her job and blow it all on one massive luxury holiday vacation complete with five-star dining, making friends and finding love and confidence along the way. It's definitely corny but it makes me so happy thank you Queen Latifah

Zathura: It's the plot to the original Jumanji but in space instead of the rainforest. But listen to me: There's a twist reveal at the end that you need to pretend isn't there. It is vitally important when you get to that part- and you will know what part when it happens- that you pretend it didn't. Otherwise, a fresh and enjoyable adventure for any age!

Redacted cause I haven't seen it in a long time and it may be worse than I remember, gotta rewatch

Bullet Train. You go in expecting a ham-fisted find-the-mcguffin style action comedy and are blindsided by excellent narrative symmetry and genuinely likeable characters. Fresh takes on old themes and creative action sequences. My little brother said "It's good", and he's a man who once sincerely argued that Lord of the Rings could have been better. It's fun and punchy violence with just enough smart stuff to not let your brain get bored

[emptyjunior]

Let's talk about Peeta, I believe he's a fully genuine person and a lot of what he said was authentic. Like he can be manipulative, he has that gift of gab, and we see it a lot more in Catching Fire or later on in the series.

But I do believe he was being very strategic in the first book as well! Like right out the gate!

Kind of the story presented to us is:

-katniss suspicious of him for being nice

-thinks he's playing the game to screw her over

-oh she was wrong he's just a good human being

And I think a lot of elements of that interpretation are true! Katniss is wrong about him trying to screw her over!

But he is still being strategic, he does have plans and he is trying to save himself, not just sacrifice for her.

We all remember the "she came here with me" moment, life changing, showstopping, hilarious. And that was a true moment! He does love Katniss!

And Haymitch interprets it as what it is, a gift to Katniss to make her seem desirable = attract sponsor attention.

But it was also very beneficial to him as well! Like ask yourself what happened just before that.

Katniss had just received a 12, the entire team was excited about just her, immediately forgetful of his 8. Peeta had just told Haymitch they could train without him, something Haymitch says he offered himself (which I believe) but Peeta is not a fool. He was aware that what happens now is: the mentor focuses attention on the one who will win! And Peeta was sparing himself the pain of Haymitch telling him that first.

So Peeta is being forgotten about by Effie and the wardrobe crew (their entire PR/propoganda department) and he is losing training from Haymitch.

So what does he do?

He goes on television and presents the plot of Star Crossed Lovers. Sells the story of the Duo, the Couple.

And it's a valuable story! Effie eats it up, Haymitch knows he can sell it, but the only way to sell it is if the two are a pair. Two lovers training together, coordinating together, being publicly mentored together.

Peeta made sure he was given every advantage Katniss was getting with one simple interview, he's always been strategic. Even more strategic then Snow cause he actually knows how to sell the truth.

And immediately after that is him and Katniss's little moment where they talk about humanity together. Peeta confesses that his greatest fear is becoming like the people in the capitol, becoming not himself.

And Katniss doesn't really understand what he's talking about! And my first read I didn't either!

He's feeling guilty cause he just sold himself. He participated in the bread and circuses, and he's reeling at how easy it was and how good he is at it.

[novantinuum]

Steven's Breakdown Was Inevitable From the Very Beginning

I feel like the thing that fucks me up the most about Steven Q. Universe and how well conceived he is as a character is that the fundamental building blocks of why he reached his breaking point in SU: Future were laid out as clear as day in the span of legit only the first four episodes of the original show. The writing was literally always on the wall that future him would struggle with matters of self worth and identity in relationship to the others around him.

Let's take a look:

Gem Glow

"Awesome! What are these things?"

Foundational Trauma #1: Steven's home is always either under threat or actively being wrecked by antagonistic forces/beings, and he constantly copes with this by pushing down his fear in favor of a curiosity and silver linings based mindset.

Look at his initial shock when he opens the door and gets tackled by one of these things, and then his response when one of them spits acid:

The kid's freaked the hell out about all this, and while I do think there's a part of Steven that genuinely IS curious about what these lil critters are, I think he's subconsciously using that curiosity as a way to distract himself from his own fears and anxieties. This is Steven actively learning how to ignore the deeper problems in favor of emoting a facade to the others in his life that he can totally handle himself in scary situations like these.

The underlying reason why is incredibly apparent, when you look at the example from the next episode-

Laser Light Canon

"I don't know what a magic lady like her ever saw in a plain old dope like me..."

Genuinely- from the bottom of my heart- I think the above quote from Greg is a moment where his own insecurities around the Gems actually rubbed off on Steven.

At this point in time, Steven may be living with the Gems... but he hasn't started to harness any of his powers at all, so in his own head he might as well be the same as his dad- another human, just one who happens to have a gem! But the way Greg talks about himself... given Steven was living with him in the van for years before moving in to the beach house, he had to have heard negative self-talk from his dad like this before.

And then there's the rest of the Crystal Gems... always speaking of Rose with such reverence as if she were an all-powerful goddess... and Steven can't help but look back at himself, and his gem that won't work... the gem that the others still identify as Rose's...

"Your gem-! You have Rose's gem!"

And maybe he starts to wonder if- without any working powers- he's just a plain ol' dope like his Dad, too.

"Please work... Unlock! Activate! Go! Please-!! Everyone's counting on you, you can't just be useless!"

Foundational Trauma #2: Steven has Rose's gem, and as such, is constantly living under the silent expectation to live up to a standard that he simply cannot ever hope to achieve, because he doesn't KNOW her and he never will.

I want to highlight one of Steven's expressions while his dad is talking about Rose- look at that sad look. My god, I just wanna hug him. This is the expression of a child who has already come to terms with the fact that his only relationship with his mom is through the rose tinted stories that other people tell him about her.

Cheeseburger Backpack

So. Steven has learned so far that he needs to push down his feelings and emote a false veneer of cheer and bravery even when he's afraid, because the rest of the people in his life have expectations and hopes for him due to the legacy of his parentage and he can't bear the thought of letting them down. (And in a sad way, at this point "letting them down" literally just means... being an ordinary human boy. I believe Steven at this stage of the show is flat out scared to be human, because to be human is to fail at being a Gem, and no amount of love and sacrifice in the name of humanity in the seasons to come could've ever saved him from the fundamental fact that the wedge between him and this whole half of his being was already drawn long before the events of season 1 even started. But I digress.)

Let's see where we go from there. Let's check out Steven's first "mission." Or as Pearl puts it about 35 episodes later, his first "test."

"Yeah... they can't all be winners."

This episode is tinted with a little bit of tragedy for me on rewatch, because I genuinely do think the Gems handled the situation as well as they could've. They were supportive of Steven's successful ploys, and (for the most part) responded with grace when he majorly blundered and left the Goddess Statue at home. The main problem, however, is that Steven has already developed a bit of a complex about impressing the three of them-

Foundational Trauma #3: Even when they claim otherwise, Steven has convinced himself that affection from the Gems is transactional, and that when he messes up he's not truly a part of the Crystal Gems.

Of course we the audience know this isn't true- I mean, hell, Amethyst even said as much in episode one after her slip-up ("and you're fun to have around, even if your gem IS useless!")... that the Crystal Gems wouldn't be the same without him. But Steven... the poor kid is a complicated little guy living a complicated life, and whether they intended it or not, the language used they've used around him thus far has not backed up their attempts at fully embracing him, human parentage and all.

Thus, Steven just spends the entire episode wracked with anxiety trying to find creative non-power using ways to make the mission easier so he can convince them he's useful to have around.

Look how nervous he gets even when all three of them are visibly and vocally supportive of his presence here:

This is the face of a boy who feels like he's under constant judgement and scrutiny from those around him.

Blessedly, viewing this episode in isolation, he experiences a brief moment of mental respite where he finally accepts the Gems' encouragement and agrees that his ideas 'can't all be winners,' but this lesson does not stick for him moving forward. A shame, really.

Together Breakfast

"What's the matter, Steven?" "I wanted us all to have breakfast together, so I made Together Breakfast! But everyone keeps leaving..." "Oh, that's nice..."

Taken in context with what we've learned already in the last three episodes, Steven's desperation to spend quality time with the Gems here and his sadness that they keep leaving him alone doesn't just exist within a vacuum. He spends the whole morning watching them shuffle in and out of the temple, or come back from missions he wasn't invited on, and with the disastrous result of the LAST mission he went on probably fresh in his mind it's not hard to understand why this bothers him.

Foundational Trauma #4: Steven internalizes that the price of "not being useful" is that the Gems actively ignore him, meaning that the only way to guarantee their attention is to work as hard as he can to become a stronger member of the team.

I know this screenshot is usually used as a lighthearted meme, but I wanted to include it because I think it's a good example of how Steven's intense desire to impress permeates every facet of his personality at times. Just LOOK at how desperate he is to make Garnet laugh at his joke, to be the one that's at very least "fun to have around," as Amethyst put it in episode one.

The Gems do eventually drop what they're doing to spend time with Steven by the conclusion of this episode, but this only comes after Steven shows his growing strength and "proves" himself by saving their butts from the breakfast monster.

If he successfully gained their attention in literally any other way he might've come away from this episode with a different lesson, but no. Instead, his fears were proven true- the Gems value strength and utility, and if he's not exhibiting that, then what use is he to them?

These fears of his can be seen weaving throughout the foundational fabric of the entire show, but I think Steven lays out what he sees as his "stakes" in the clearest way possible in the episode 'An Indirect Kiss.'

"But- if I don't have powers, then I can't hang out with Amethyst, or Garnet, o-or Pearl, and- I-I can't go on missions!"

And these same insecurities even rear their ugly head as late as the movie.

"I can't believe this... for the first time in years, everyone's in danger, everybody needs me, and- I'm useless!"

Powers = Utility = Worth = Other's love, for Steven. Everything is transactional to the end, which is a hilarious double standard he's set for himself when he's made his reputation as the kid who always listens and encourages and gives others a chance to change, no matter their messy history with him.

__

So let's recap and restate those foundational traumas from Steven's perspective.

One: The only way to cope when your life is constantly under threat is to bury the damage and pretend to be fine.

Two: Everyone expects you to live up to the standards of someone you're not.

Three: The Gems only love you when you're of use to them.

Four: If you ever stop being useful, the Gems won't want anything more to do with you.

In sum, Steven's habit of burying his feelings for the benefit of others was there from the very beginning, not just since 'The Test.'

Those unreachable standards he felt so daunted and intimidated by all his life were the ones set by Rose, at first... but over the course of the series, the dynamic of this shifted. As Rose's influence fell into the background, Steven's rose into the front. And so it's with great irony that- by the time of Steven Universe: Future, the expectations this exhausted, worn down teenager is fighting to once again achieve are the ones HE set for himself. Many of young Steven's selfless actions during the war are quite admirable when analyzed in isolation, but almost none of them are sustainable. He set himself on fire just to save the world, but teen Steven is genuinely unable to see this for what it is yet- as a tragic sacrifice of his own childhood. You can't burn your own ends for others forever, not at all. His breakdown was simply inevitable.

When it comes to the interconnected beliefs three and four, these are exactly why the ultimate confrontation at the end of I Am My Monster HAD to be one fueled by selfless love. Steven is at his absolute lowest at this point- he's everything he fears he's become, trapped in a form that's nearly incapable of reason. He's big and angry and spiky because that's a part of the facade- because a part of him WANTS to scare the Gems away, wants to be left alone forever, believing this the fate he deserves as price for his misdeeds.

In this form, by his own definitions he is NOT useful to the Crystal Gems at all.

But they don't care.

Because it never WAS about Steven's 'usefulness' to them, they simply love him for being Steven.

With this in mind, the conclusion of Steven Universe: Future wasn't just a salve to teen Steven's immediate struggles, it was a salve to the foundational insecurities that have been plaguing him his entire life.

And hopefully... from this point on... his family's shows of love and encouragement will be enough to finally convince Steven that he's more than worth their time...

No matter what path the future leads him on, and no matter what form he takes.

[colbyheartland]

So I love Dandadan actually because through those first seven episodes I couldn’t stop repeating to myself “Wow Momo is so fucking cool” like she’s such a genuine badass. My shounen senses were primed for her to just get saved over and over again, maybe just helping out every now and then but no SHE’S the one doing the majority of the saving. She and Okarun both feel like real people and they’re setting up a sweet and genuine romance that doesn’t feel creepy. The voice acting is also so good like she is SCREAMING out here.

Usually when an anime has two protagonists and one is a female she feels like a passive observer just getting swept along for the ride even when they’re supposed to be “tough” it fades away or they are made lesser to make the male lead look better. But Momo and Okarun actually work together!!! They both act like human people!!!! Including the ugly parts with Okarun’s avoidance tendencies and Momo regretting when she does lash out because she knows she’s in the wrong. And they talk about it after she does!! It comes with a healthy dose of “teenagers are kind of mean because they’re still maturing” which is normal and amazing to see.

This anime is healing something I didn’t even realize was broken when I found myself not having to cringe away from little moments that make me uncomfortable. There is a bit of fanservice going on (thanks grandma) and yes I get episode 1 starting off as a bit much for people but honestly, genuinely, did you think aliens WEREN’T going to try and probe someone in the Alien Ghosts Anime TM. Kidnapping humans and cows for experimentation is what they’re most famously known for. You are meant to be uncomfortable and weirded out by this episode. An episode that ends when she unlocks fucking psychic powers and blasts that alien through the wall of a SPACESHIP like hello??

Momo Ayase is that character you give a gun to if you want to shorten the book by half and the author gave her one in the form of psychic powers.

[taddymason]

So, I think as a fandom it would be better if we understood that in Jaya it's not that one of them loves one more than the other, but that one of them is more selfish than the other.

I wish this aspect was acknowledged more and not interpreted as "Nya doesn't need Jay or loves him as much as he loves her" but rather both characters have different priorities. Nya is a protective person, she is much more selfless in her actions, when Lloyd asks her to stay at the tournament, she does it because she knows she is needed, she knows Lloyd needs her and counts on her and of course no matter when she wants to go find Jay, she will always be there for her little brother like it happened in S9 and all the show tbh. And also because the tournament was a priority for the team at that time.

Now I'm not saying that Jay isn't capable of selfless sacrifices but I think there's a reason why this happens to a lesser extent with strangers and with MUCH more consistency with those she loves. And I'm not even talking about Nya. Jay dropped absolutely EVERYTHING without telling anyone in S7 to go save his parents, or in S6 the guy said "fuck the low profile" and summoned a dragon in the middle of the street in S6 to go see Ed in case he died.

Jay is much more prone to ignoring the greater good and putting absolutely everything aside for his close circle of loved ones (I actually love this about him a lot and it sets him apart from the team as one with the most questionable morals). One of Jay’s themes is family, again, and it’s not limited to Nya, but to his parents and how he always rushes in to save them without thinking, or how when Wu was in danger in S7 the guy jumped off the bounty against Lloyd’s orders to fight a mysterious stranger. I could go on, but it’s important that this aspect isn’t limited to Nya, but that Jay always puts his close circle of loved ones over the greater good. If you asked Jay to stay and complete a mission instead of going to save a loved one (be it Nya, his parents, or anyone on the team), the guy would do whatever he wanted, sorry.

And instead, Nya, from her role as a zamurai, has the theme of protecting, of taking care of others. Not only as a warrior, because she is genuinely kind supporting others like Lloyd or Sora. Nya SHOULD be allowed to be more selfish but ever since she was a child she's had to accept a very harsh reality where you can't afford to be "selfish", she's been forced to accept roles that people put on her, ever since s5 she was accepting something she didn't want for the greater good of becoming the water ninja. Of course she loves her family but she's also more analytical than Jay (who's going to react in the most impulsive/explosive way when you corner him) in order to know where she's most in need.

And even in S2 you can see how she puts aside her mourning for Kai (and the righteous anger she would have with Ras and Cinder) and tries to calm Wyldfyre at every opportunity.

To sum it all up, it's not just that Nya and Jay have very different ways of expressing affection to their loved ones (I beg you to stop using "I love you" as evidence because Nya hasn't said it to Kai either and I think we all know how much she loves him) but they also handle things very differently in complicated situations.

I think if the roles had been reversed in DR, would Jay have gone to look for Nya after she lost the tournament? Tbh yeah, most likely, but that doesn't mean he loves her more than she loves him. It's just that Jay is generally a more selfish person who will react more impulsively before thinking about the pros and cons or doing what is asked of him for the greater good. It's notable that the greatest act of love Nya does for him (which is sacrificing her humanity in s14) is not only for him, but also to save Ninjago. Again, getting into the subject of the sacrifices she makes to protect others, accepting decisions she doesn't really want to make.

[lilianade-comics]

Stolen Sanguine's Storyline

@taptrial2 requested information about my Danny Phantom vampire AU, Stolen Sanguine. I previously made a post about the AU's world-building. This post will summarize the story as far as I've developed it.

*Vlad begins the relevant history of this AU as a vampire, and the details of his turning are not important as they are not the inciting incident of his revenge plot.

---

THE PAST.

A little over thirteen years ago, Vlad was a rich, powerful vampire living the typical vampiric lifestyle with the added bonus of some mad science human/vampire experimentation on the side. But after years of living like that, he realized it wasn't satisfying him and there was something very big and important missing from his existence. Under the weight of crushing loneliness, and knowing it's supposed to be against vampiric nature to form real connections, Vlad decides to run an experiment: Is it possible for him, a vampire, to form a real relationship with a human and never introduce blood consumption to the dynamic? Is it possible for him to experience genuine love?

Enter Jack and Maddie. Maddie was about six months pregnant at the time, and the story she tells Vlad is that her husband was a merchant whose ship sank recently. Jack is in the role of her servant. They quickly form a friendship with Vlad and in Maddie's case, she allows Vlad to believe he's wooing her. They run the long game on Vlad, waiting for the perfect moment to strike, and that moment comes a few months after Maddie's twins are born. Jack and Maddie, vampire hunting husband and wife, turn on Vlad and attempt to slay him, citing his many, many crimes against humanity and evil, blood consuming nature as the reason he's a fool to think they ever cared about him at all.

Vlad escapes Jack and Maddie because his castle is full of secret passageways, but he's suffering a nasty facial wound from a stake and reeling from the betrayal. He watches from a distance as they burn his home down and destroy his immortal life's work, and bitter hatred takes root in his black heart because he actually had hope his experiment was working. That he could love and be loved and finally feel satisfied...

Immediate revenge is the only option. Maddie gave all number of excuses why she wouldn't let Vlad meet her infant (the cholera outbreak in the area is too dangerous) in a thin attempt to protect them should the plan go awry, but she didn't realize Vlad's powers far extend the norm. With a trace of Jack's blood on one hand and Maddie's on the other, Vlad can taste both and have an approximate idea of where their offspring resides, so he sets off to destroy Jack and Maddie's world.

Jack and Maddie would never have expected Vlad to find their little traveling murder wagon, so it's relatively undefended save the ridiculous amount of anti-vampire measures, half of which are useless and the other half pose no more than a slight inconvenience. The biggest obstacle is the fact that Vlad can't enter the dwelling uninvited and keep his powers, but he's beyond caring at this point and he meets no opposition from the cowering caretaker tasked with minding the treacherous leeches's spawn.

He wasn't expecting two babies, and after forcing entry Vlad is feeling more fatigued, vulnerable, in pain, and anxious than he anticipated, so he makes the hasty choice to take one and leave the other. Had he been more decisive, he probably would have done something far more grisly, but this choice sealed the fate of both children for better or for worse. Vlad flees the Fenton's traveling home with his stolen prize and vanishes into the beyond, never to be found.

(Jack and Maddie return some time later, exhausted and emotionally spent from hours of trying and failing to find their prey. To say that day went from bad to worse for them is an understatement. They continue to search for Vlad and their daughter for weeks, but the day they find a blood soaked baby blanket in the woods is the day they lose all hope.)

Vlad's retreat from his pursuers was stressful and made more difficult due to the fact that he was injured from the attempted slaying and powerless from forcing entry, but fortunately for him the tiny object of his revenge will conveniently provide the blood needed for his expedient recovery. Vlad has never eaten a child before--the thought is somewhat distasteful to him, but he puts this discomfort aside in the face of his hunger and seething, furious need to hurt Jack and Maddie.

It's funny, then, how when he removes the infant from its blanket and looks into its blue eyes and observes its little fisted hands and feet, holding it aloft and away from his body like the sacrifice it's supposed to be, Vlad hesitates. In those best days with Jack and Maddie, he could have sworn his experiment was working. That if they had never tried to kill him, Vlad could have seen fully past his desire for blood and simply be their friend, no strings attached. That he could have fully loved them. That they could fully love him. It was they who had ruined everything, they who were the monsters, not him. Vampires could love, if they chose to. He just needed to find someone without prejudice, someone without hate...

Danielle's life was spared that day. As she grows up far, far away from her birthplace, Vlad ensures she knows what he wants her to know: That he, a vampire, adopted her after her evil parents used her as bait in an attempt to kill him. It's not the unedited truth, of course. But it's true enough. What's even more true is that Danielle loves him wholeheartedly, and Vlad, in his own disturbed way, loves her too. He shields her from the darkness of his world and does everything in his considerable power to keep her happy, healthy, and safe. He's not lying when he claims he's never bitten her. She's his daughter, a word that isn't in the average vampire's vocabulary. It's the sweetest revenge imaginable: the child of vampire hunters, now the child of a vampire.

---

PRESENT DAY.

Danny is turned inside his own home. It was a freak accident, and he wasn't even bitten. All it takes is one little scratch and a tiny drop of venom; and he wakes up the following night with a craving for the unimaginable. Brought up to believe vampires are the most evil creatures alive and terrified of what he might do to his parents, he flees home and camps out at the Foley farm, where Tucker sneaks him livestock just to keep him alive.

Jack and Maddie were going to let Danny apprentice at an astronomer's guild in the near future, so Danny leaves them a note to tell them he was so excited about it he left early. The truth is too terrifying to admit, and he knows they're too caught up in the hunt for the vampire that got away from them thirteen years ago to question it. They kept saying they were close; which means Danny is free to...do what, exactly?

He has nowhere to go. Tucker can't hide him forever, and as much as Sam pretends that she's a witch she can't undo his curse. And Danny feels that hunger still, that hunger driving him to hurt his closest friends. So he leaves them too, fearing their safety.

He travels for a bit by night, subsisting off animals and avoiding people as much as he can. He has some close calls: a white-clad vampire slaying cult nearly catches him after he gets a little too bold going after livestock, and even though Danny knows he needs to avoid people, he can't help but take advantage of his newfound immortality and help people who need it. A victim of highway robbery here, a stuck wagon there. One freezing cold river and one rescued swimmer later and Danny discovers that he's exceptionally pathetic for a vampire; he can't die by hypothermia or drowning, but he lacks the resistance and recovery speed these monsters are supposed to have. He spends hours staring at the stars, hoping no one finds him like this, and all he can think about is blood.

It's at one rural village miles away that he hears whispers that he's officially in vampire territory. He's passingly familiar with these concepts: vampires aren't typically nomadic and usually reside in one or two locations, amassing enough power and wealth and political or economic influence so as to be untouchable, and presiding over a handful of villages or even a city that don't dare to oppose them. This particular area apparently has a relatively high concentration of vampires, which normally would have him going the other direction. But one name stands out from the rest, one name gives him pause. Vlad Masters, or Plasmius as he is colloquially known underground. The one who escaped from his parents, all those years ago. The one who killed his baby twin sister.

Curiosity is only a fraction of what drives Danny into Vlad's domain. Is it anger? A sense of vengeance for a sister he never had the chance to know? Misguided heroic principles telling him to save the poor people in Vlad's village? Or something far more complicated, the need to look at another vampire and compare himself--to understand---what he is. What he might become. Either way Danny finds himself readying a wooden stake on the way to the manor and realizing he might be more like his parents than he's willing to admit.

It's midday when Danny arrives. He long ago picked up a heavy cloak to shield him from the sun, and he figures that Vlad is more likely to be inactive and less powerful when it isn't night. And since Danny has never drank human blood, he has no powers to lose when he enters the manor uninvited. He doesn't know what he's looking for. A murder dungeon, probably. Body parts strewn everywhere. Blood smeared on the walls. Evidence of a terrifying vampiric mad scientist's crimes. Not prim little houseplants and stacks and stacks of gaudy decorations. Unfortunately for him, Vlad has been functionally diurnal for years at this point, and Danny doesn't notice he's been snuck up on until Vlad is right behind him and inquiring just what does this little intruder think he is doing?

Coming face to face with his sister's murderer with no warning wasn't ideal, but Danny has been on the open road long enough that his reaction time is sharpened to a knife's point. Or a stake's point, as it were. And perhaps if he were facing a human he might have managed to do something with it. But Vlad catches his swing comically easily and holds it in place, like he's trying to decide if it was meant to be a feeble joke. Danny wrests his arm away and falls back, and his hood slips back from his head, revealing his face.

Vlad's unprecedented expression of shock and recognition is all Danny needs to see, and he's on his feet again in a blink. "Recognize me?" he inquires. Vlad audibly confirms it, that Danny must be Jack and Maddie's son, the other baby in the cradle. The twin left behind. And at this Danny's anger and panic gives way to bloodlust, a terrible surge of violence with one target. He can't believe he's endured weeks of pushing down his monsterous urges just to give in here, but Danny can't let the death of his sister slide.

Attacking Vlad again goes no better than it did the first time, and now Vlad's mostly recovered from the shock and remarking on how....amusing it is that Danny has found him after all these years. And look at that! Are those adorable canines pointed? Why, that's just the most delicious cosmic irony possible, and Vlad's smug musing at how this must have utterly destroyed his parents only enrages Danny more. Try as he might, he never even comes close to harming Vlad, who dances around him like it's all a very cute game.

Vlad maintains the insufferable veneer until Danny, furious and panting, reminds him that he happens to be the bastard who killed an innocent baby- his baby sister, and Vlad shows a glimmer of genuine irritation for the first time. Suddenly he's closer than he was a second ago, and he playfully tells Danny that being a presumptuous brat will not improve his chances of making it out of the manor alive. Danny takes the golden opportunity to swing at him again, but Vlad finally goes on the offensive and grabs him in a vicelike chokehold.

Still conversational, Vlad tells Danny he has left him in a most interesting position. Shall he kill him? That would certainly be fair, since Danny has tried to kill him already, and he's clearly unable to control himself. Or should he spare him, and reveal the true nature of his sister's fate? Danny struggles for air, with no idea what Vlad is talking about. He tries to wheeze something goading, but the moment ends abruptly when a door swings open behind them and Danielle runs into the room, not finishing her sentence when she sees the confrontation.

Saved by his sister's appearance, Vlad reluctantly releases Danny and lets him cough pitifully on the floor while he attends to Danielle, who has forgotten what she wanted and is staring wide eyed at the strange boy, not letting Vlad coax her out of the room. Danny recovers his breath, bloodlust long gone, and stares right back. Vlad, for once in his life, briefly looks at a loss, before deciding that an explanation is definitely necessary and he introduces Danielle to the impertinent little intruder who just tried to stab him, her long lost twin brother Daniel. And to Danny, he introduces Danielle, placing great stress on my beloved daughter.

Dinner that night is unbelievably awkward. For Vlad and Danny, that is. Danielle is thrilled. It comes to light that Danielle not only knows she's adopted, she knows the whole story of how she came to be with Vlad...or, at least, Vlad's edited version of it. Danny is appalled, especially when Danielle excitedly exclaims that now that he's escaped his parents, he can live with her and Vlad forever! Vlad chokes on his wine (or is it blood?) while Danny shoots him a thunderous look. Danny inquires why Dani thinks he escaped his parents, and she, sensing his unhappiness, explains that they probably tried to hurt him for being a vampire like they tried to hurt her father, didn't they? Vlad watches Danny closely, because that's exactly the assumption he made as well, but Danny manages to grind out that his parents love him and are good people, and would never, ever hurt him.

Later, after Danielle has shown Danny every nook and cranny of the manor and babbled excitedly about her life and asked him a million questions about his, after Vlad finally sends her to bed, Danny finds himself alone with his sister's murderer again. No, not her murderer. Her kidnapper. Her manipulative liar of a "father". He tells Vlad as much, sitting across from him with a lit fireplace between them. Vlad only scoffs and asks when, exactly, did he lie to Danielle? Did he lie when he said Jack and Maddie used her and Daniel as bait? Maddie was with child when she courted Vlad. Bait, my dear boy. What sort of parents knowingly place their unborn children in the sights of a vampire? Did he lie, then, when he said he rescued her from them? Judging by Daniel's unfortunate fate, no.

Danny's face colors with rage, but he can't say anything for a moment. You're still evil, you're still a monster, you won't get away with this, all flit through his mind, but he settles for telling Vlad that his parents had nothing to do with his "condition" and he's not afraid of them hurting him. Vlad smirks in that punchable way of his, and says that's evident in the way he ran for miles just to fall at the feet of their worst enemy. Danny doesn't rise to this bait. He goes on to say that he's not scared of his parents hurting him, he's scared of the reverse. Of the very real urge he feels to hurt them.

Then Danny brings up the thing that has been eating at him since he first saw Dani. The fact that she was not only happy and alive, but whole and unbitten. She's been living with a vampire for thirteen years and Vlad's never...? Vlad regards him and says nothing, face impassive save an amused quirk to the side of his mouth. How? Danny wonders. How is that even possible? Vampires aren't supposed to be able to treat humans like anything other than food. How did Vlad figure out how to resist the hunger?

Seeing that Danny is being earnest, Vlad asks him why he's here and what he wants. And Danny falters, thinking. As much as his skin crawls at the thought, he wants Vlad to teach him the secret to beating the hunger. He wants to stay close to his sister's side. And he wants to hold onto that glimmer of hope that maybe he doesn't have to be a monster. Vlad drums his fingers against the rich texture of the armchair and remarks how fortunate Daniel is that he bears such a striking resemblance to the one person in the world Vlad would never deny anything. And with how happy Daniel's presence has made Danielle, it would be a pity to separate the siblings again so soon. So with the wary promise that Daniel will do exactly what Vlad tells him to and that he will do nothing on pain of death to endanger Dani's safety whether it be by word or deed, Vlad agrees to teach him his secrets.

---

[space-blue]

It's horrible too if Jinx lives!!

OK, I guess we're doing this?

People keep coming at me for my post about Jinx dying being terrible writing and promoting suicide by heroics as a valid way out, and the argument is always "Actually, Jinx is alive because XYZ"

So let me makes myself clear : if Jinx lives, it's also terrible writing!!

Because for all intent and purposes, she DOES DIE! Even if she's alive and fucked off in that blimp, she's still dead to everyone who knew and loved her.

WORSE! Vi will go on thinking for the rest of her life that Jinx died because of her, or at the very least that she couldn't save her.

It's not for no reason that Vi has this scene in the cell with Caitlyn, where she says she always choses wrong. In the scene on the crumbling metal beam, Vi choses not to listen to Jinx!

People got in my comments saying I have no humanity for reproving Vi picking "Vander's corpse" over Jinx. But what we see happen is Jinx telling Vi multiple time to get away and how to get to safety, and Vi completely ignoring her to interact with Vander/WW, only for him to wake up, attack her, and force Jinx to risk her life to save Vi.

Vi made a choice, between more time with Vander and listening to Jinx, and the price paid in the end is Jinx dying.

What if she lived and escaped? Vi doesn't know that! Ekko doesn't know that! Or Sevika! Or anyone!

Thought exercise time: close your eyes and imagine a relative disappearing for your life after a lethal accident you're involved in. You never recover a body and never see them again. How do you feel about it? Mmh?

"Oh but Caitlyn sees the schematics that show a side tunnel…"

Firstly, Caitlyn was nowhere near the event, and she can't frame-by-frame the explosion as we do, so you can hardly claim she's looking for Jinx and not, for example, the arcane gem, or Warwick.

Vander/WW was shown to be entirely impervious to the bullets from Jinx's automatic gun. If anyone has a chance of surviving, it'd be him.

But do you know what? If Jinx is in that blimp, and Caitlyn then tells Vi, "From the schematic, I think your sister could have escaped" (ignoring entirely the fact that Jinx should be cut in half by WW's claws wrapped around her waist), then what would happen???

That would send Vi on a wild goose's chase!! How many years would she spend hunting through Zaun trying to find her sister? How many years until she starts resenting Caitlyn for giving her false hope? How many years until she's forced to accept Jinx isn't anywhere, and so must have died back then, and has to see herself as Jinx's killer all over again??

How is this good for Vi?

And Ekko? He pulled her out of suicide what? 5 times? Had some epic bonding with her painting all over each other, doing self-care and hair dyes and fixing a balloon so they could go on a big attack together.

Maybe he thought he could genuinely finally be close to his world's Powder. Silco just taught him the greatest thing he can do is forgive, and the girl he forgives fakes her death and runs away?

They're barely 20 ffs, Jinx would have plenty of time to struggle on the road to recovery, especially with his help. What if Ekko was ready to be there along the way with her? What about him?

How is it good if Jinx is NOT dead but has NOT told him? What difference does it make to him? She's dead for Ekko, and if he learns later on that she faked her death, all he'll know is that HE wasn't worth her staying. He wasn't even worth telling the truth to!!!

It's fucked! It's not healthy!! Jinx could have her ending removing herself from Zaun without having to fake her death.

But hang on, it gets worse!

Because it's straight up not good writing even on the meta level.

Arcane has millions of viewers. Nobody I know IRL thinks Jinx is alive. Plenty of people in my notes agree she's dead. Do you know what millions of people think? That she is dead!!! Because it's the TEXT OF THE SHOW.

Millions of fans will think Jinx was killed off, because they aren't willing to go frame by frame, extrapolating and make-believing their way into thinking she is alive. Most fans are normal people who aren't terminally online, theorycrafting all day long.

Most normal fans have moved on to watch Dune Prophecy or Sweetpea. And if Jinx comes out alive in another show, the "Somehow Palpatine Jinx returned" memes will abound.

Let's go over the common elements brought forth as arguments.

Jinx uses pink and blue in that bomb, and pink is how she gets away "quick".

No? The bomb she attached to Thieram in season 1 was pink and it was all for glitter and harassment. There is no strong canon association of meaning. If you watch frame by frame, there is a pink "light gleam" over the first blue detonation followed by a very large pink blast and ZERO smoke trails or anything indication someone getting away. Jinx uses the same bomb she used to kill herself very effectively earlier in the show, so we have no indication it wouldn't kill her here too.

We can see the inside of her bomb when she kills herself (with the two liquid vials) and it's the same she uses on Vander/WW and herself.

Besides, even if she used some part of the explosion to get away, WW's claws are around her like this:

She'd be bisected in half.

So some people say that means that Warwick is also alive and let her go! But no. That's make-believe. That's fanon, 100%. The TEXT of the show is that Vander is burnt away (we see the final image of himself burning up) and he has just attacked Vi, trying to kill her. We have no indication he'd want to spare Jinx here.

HOWEVER, he's literally bullet proof, so if there's anything we can conclude is that he's likely to be the one to have made it into a shaft and to safety.

Speaking of shafts: the next argument is that Caitlyn is looking at the tower's schematics to hint that she suspects Jinx lives.

Maybe, but you are reading a character's mind. We see her look at schematics while holding the monkey bomb head, yes, but you don't know what she's thinking, and if the show runners don't make it explicit, then Cait's thoughts about an explosion she hasn't even witnessed aren't worth much. She could think Warwick lived. OR she could think, despite not witnessing the fight, that Jinx lived. But she doesn't KNOW, she doesn't tell us, and so you are INVENTING the thoughts of a character to mean what you want it to mean.

This would be a lot more meaningful if it were Vi investigating this.

There's a blimp going away, it has blue smoke, and then it ends with a Jinx glitch.

No. There is a blimp going away, slowly, without any blue smoke. It's also THE EXACT SAME ONE that opens Season 1 act 1.

Instead of coming towards Piltover, it now is leaving over the sea. This can be fully interpreted as a sign that the hextech era is over. Blimps have to travel the old fashioned way again. It's also going away from Piltover/Zaun, symbolizing future stories taking place there.

Finally, the glitch is 3 frames long and spells "the End". IDK why the fact that it's a little Jinxy means anything to anyone. The end of credits for season 1 was Jinxy as well, and it could simply be about keeping the same visual identity and not a sign of Jinx being alive???

If I wanted to play subtext games, I could say "Wow Jinx writing "the end" would be appropriate if she were dead" and reverse the argument.

Finally, and the thing in most poor taste, IMO.

Jinx kills herself several times in the opening of the episode, and a sad emo song plays over it, with sad fucked up lyrics. Then Ekko comes and pulls her from this…

Only for that EXACT same song to be played while she and Vander/WW fall. They are both crying. Vi is crying and screaming while these lyrics are playing!!

If I could just lay my head down and rest. If there was nothing to fight or protect. Maybe then I could finally be free. Maybe death is like falling asleep. This world is a wasteland where nothing can grow. I used to have strength but I ran out of hope. I know it's my fault that I'm here all alone. This world is a wasteland. Please let me go. Go, go, go. Please let me go.

This is literally singing about suicide. When you say "Maybe death is like falling asleep" over the animation of a character pulling the pin, you are not dealing in subtext or metaphor of any kind.

One of the earlier shots literally has her framed in broken glass among shards that are WARWICK'S MAW. It's like a hint of her death being killed by him, furthering the parallel.

And I think it is in very bad taste to have suicide apologia music playing over characters screaming and bawling (Vi)

while others cry (Jinx and WW)

and a bomb goes off (with no hint of survival),

only for some of y'all to come around acting like Cait glowering at a blueprint and a recuring blimp all means Jinx is alive...

It would be grief porn on the part of the writers. It would mean slamming us in our feelings in a brutal way, in an ugly way, while playing a suicide song, only to turn around and say "Syke! didn't you get that Cait is suspicious about Jinx so it totally means it was all a fakeout?"

I don't want a fake-out at this point!! Why would I?? It's legit worse! Because then it means they couldn't spare 5min of animation time to have her rescued by Ekko and being on the mend with him. Even if she has a scene where she tells him "I need to leave. I can't stay in this city), at least it wouldn't be a cruel joke on the fans and the characters.

This entire ending means that either Jinx was better off dying taking out the mad monster made out of her dad with her (making her the ultimate dad killer, yay), or Jinx was better off removing herself from the equation SO THOROUGHLY that MOST fans believe it, everyone in world believe it, and the show offers no concrete textual clue for it.

It means Jinx didn't deserve/or wasn't able to get better. And so she has to die or do the exact-same-as-dying but kind of more fucked up somehow.

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ULTIMATELY the message to impressionable viewers who struggle a lot with mental health and identified a lot with Jinx, are being told with soft sad music that yeah maybe dying is like going to sleep and your family should let you go, go, go, and that "leaving everything and everyone behind" is about the same.

It's fucked, and it saddens me that people are so focused on the "she lived" narrative that they miss out the fact that a hint she may be alive doesn't change the messaging.

And it saddens me knowing that if Viktor's arc ended with him being validated in feeling like his human body was "broken" and "inferior" and that his disability made him lesser as a human, people would have pitchforks and torches out.

Jinx's mental illness and struggles in interacting with the world were her disability, and she got fucking killed or wiped off the city incognito for it.

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P.S: If you're warming up to post hate in comments or tags because you don't like my take and don't know how to politely disagree, please save us both time and block me. I'm open to polite discourse but the next person questioning my humanity over fandom wank will be nuked from orbit with prejudice.