#but he started actually BELIEVING that maybe the world was worth saving

[shadowrunner8236]

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What if an inquest member became a commander, fought to save tyria for the inquest to one day rule...then finds out...maybe theres something worth saving...

Read more below to find out, and check out their blog!

@everyone

Tell me your commanders lore in the tags i wanna read

As there are no restrictions for this im gonna warn minors to consider all possible content warnings before reading the tags!

PLEASSEE go crazy pick one to three of your commanders and info dump to me about it all i want to see you guys writing and ik most of you are waiting for some one to ask so heres some propmts to help you out if you need!

Prompts

What drives them?

Whats their personal goal?

How does their culture (wherever they are from in your lore) affect them? [Ie do they go to festivals, miss home, have a grudge with a clan, person, or collage? Etc]

Do they have anyone they love?

Did any of their loves perish, who and why?

Do they have a major regret or loss?

U can make this a therapy sesh for them its ok

A dream they clung to, a hope or goal (if any) that kept them going through it all, or alternatively drove them to their end~

Go crazy go off the cuff! I wanna read so this may get reblogged a few times on my main!

[wordsarelife]

—style

pairing: draco malfoy x fem!reader

summary: draco and you always come back to each other, sneaking around in secret, unable to let go, even though it’s getting harder to hide and maybe you're not willing to keep the secret any longer

warnings: slight angst but ends in fluff, height difference mentioned

your back was leaning against the castle's wall, arms crossed, you quirked a brow at the boy across from you. he was spotting a similiar expression, his arms crossed like you and face in a deep frown, unmoving as you nodded for him to talk.

"i'm not gonna apologize first" you shrugged, deciding to have it like this if he wanted to be difficult.

"well, me neither" he spat, voice venomous as he looked at you unimpressed, your threat not having the least bit of effect on him. "i wouldn't even know what for"

"you were the one that came back, draco" you reminded. "we agreed that whoever came back first had to apologize"

"well, i'm not doing that"

"then i'm not kissing you" you shrugged, turning your body as if to leave, before his hand grabbed your shoulder, turning you back around in a swift motion.

before you could protest or say anything else about his sudden action, his lips were on yours, pulling you in through the feeling that evaporated in your body.

you moaned into his mouth, not even caring that he didn't apologize, as he pressed you against the wall.

draco and you came from completely different worlds. he was a proud slytherin, someone that valued social standing and reputation above everything else.

you were a gryffindor, hanging along the golden trio most of the time, but basically being friends with everyone, no matter who they were or from which family they came. you didn't mind as long as you liked them.

draco and you had hated each other from the first encounter on. arrogant as he was, he had introduced himself to harry, muttering something about the wrong kind of people (eyeing ron and you) he had chosen to spend his time with.

you rivalry reached it's peak during third year when hermione had hit him and you had caught him days later as he was trying to throw something into her cauldron during potions class. you had slapped his hand back, resulting in him breathing in whatever he had held in there and spending a week in the infirmary, throwing up hours on end.

you gained two weeks of detention from snape, but quickly decided it was worth it, considering you had saved your friend from an even worse fate.

but the real change of your relationship had begun during fourth year. you had noticed that he grew into his looks and you couldn't believe it, but his cockiness actually attracted you.

draco continued making no secret of disliking you and your friends, but you noticed his eyes linger on you longer than they had before.

it had been a week of constant fighting, hormones high and upcoming exams stressing the both of you, where one thing had led to another and you found yourselves in shared detention with professor mcgonagall who punished you to sort through and clean her classroom.

"this is all your fault" draco muttered, cloth in hand as he rubbed it along the table, that picked the water up quickly.

"sure" you nodded with a role of your eyes. the row of goblets in front of you, used for the first year classes, turning out to be a particular hard thing to clean. "as if you didn't start the fight"

"i merely concluded obvious information"

"pff" you made, sending him a glare across the room. "that's not what i would call it"

"let's hear it then, genius"

"i'd call it an uneven distribution of arrogance and stupidity" you smiled smugly as you set down another goblet in front of you.

"you take that back!" draco let go off the cloth in his hand and dashed across the room, pushing his hands to his hips and looking down on you as if to try and dare you to say more.

"no" you shook your head, rising up from your chair so you were on an even level with him.

"one last chance, l/n"

"or what? you will send daddy to straigthen me out?" you puffed air out between your lips, not even caring about his answer. "you've been using the same empty threats for years, malfoy, it's honestly gotten boring at this point."

his eyes widened, switching to collect the glimmer of your lips as a memory and before he could properly think of what he was doing, he had closed the space between you, kissing you softly.

it had taken exactly ten seconds for both of you to realize what had happened, quickly breaking apart.

"you just kissed me!" you muttered stunned, pointing an accusing finger in his direction.

"you kissed me" he shook his head, just as shocked as you, as he tried to remember what had happened exactly.

"no" you corrected firmly. "i'm not taking the blame for this mess. this is solely on you"

"you kissed back though" he concluded, with a final nod. "don't ever do that again"

"well, okay?" you shrugged "i won't as long as you don't ever kiss me again"

the tension between you was palpable, as you kept holding eye contact, no one of you moving as both of you tried to find out what the kiss would mean for your relationship, or more so lack of, moving forward.

it had been a sudden decision, maybe because you had spent all your years at school trying to one up draco malfoy, but you didn't think twice, before you pushed your mouth against his once more.

this time the kiss lasted longer and both of you had to catch your breath.

"i thought i told you to never do that again"

you nodded, before you smirked, "you said i should never kiss you back"

"yeah" he nodded, admitting that you hadn't done anything he had forbidden. "and you said i should never kiss you again"

"never is such a harsh word" you shrugged and just half a second later you were kissing once more, your hands gliding into his neck as you pressed him closer.

what began that day in the classroom accompanied you through the school years that followed. you and draco would put on a facade in front of your friends and pretend like you still couldn't stand each other, which was, to be honest, not even far from the truth considering he still constantly annoyed you. all while you would meet in secret, sneaking around the castle and hooking up with each other behind everyone's back.

apart from sleeping with each other not much changed between you. you never declared what you did to be a relationship, although both of you never met other people.

draco was the one constant through your teenage years. sometimes you would go longer without the other, but you would always come back, like a drug you couldn't stop taking even if it had the potential to destroy you in the end.

draco ended the kiss, pressing his forehead against your own. "sorry" he muttered and you furrowed your brows in surprise.

he had never apologised before, even if that was your rule. he would always suck up for a while, until you finally accepted that he was somewhat sorry, without actually saying it.

"hmm" you hummed, pressing one more kiss against his mouth, before you broke away and grabbed your bag off the floor. "we've got herbology"

draco nodded and turned around, picking up his own bag. "i'll go around the courtyard, you'll go now"

"sure" he softly grabbed your neck with his hand, bringing you close again and kissing you, more passionately than the moment allowed. you were way too flustered when he let go off you, but he just nodded for you to go. so you did.

you kept thinking about him for the rest of the day. through the whole herbology class, most of potions class and even charms, which was you favorite subject.

it hadn't been yesterday when you realized that you maybe didn't still find him as annoying as you did back when you were children. that you had maybe even grown fond of him a little, or whatever it was that you had.

and there was a stupid part of you that longed for more. for more of whatever it was.

what you had enjoyed at first, was now the part you hated most about your little arrangement. sneaking around, lying to your friends and always keeping something from them, while they viewed you as family, as someone they knew everything about.

you just wanted them to know and maybe you also wanted to know if he would stay. stay at the possibility of people finding out about you.

all that went through your head until the next day. and realistically you knew he wasn't what you wanted him to be. you knew draco well enough. he would never agree to go public, much less to even be in a relationship with you.

so it was pretty clear what you had to do.

you knew that it was the right decision in the long run. for both of you.

you met in the same hallway. you were leaning against the wall when he arrived, a distant smile on his face, that only really broke out when his eyes fell on you.

"hey" he muttered. you let him kiss you, before he stepped back, leaning across from you.

"hi" you said, testing the waters. he furrowed his brows and crossed his arms.

"what is it?" he asked unimpressed. he was used to you berating him for something he had said or done the day before. most often it was something regarding your friends and even though he never admitted it, you noticed his behaviour change, when you had been angry about something.

"nothing" you averted your eyes. you could hear him step forward, on edge, not used to the sadness in your voice.

times you had been apart came normally right after you had fought with each other. always screaming loudly, having found something to be annoyed about, before you decided not to see each other anymore, until one of you eventually came back.

"tell me" draco urged, the calmness in his voice long gone. "did something happen?" normally you would have made fun of him for his unusual care, but now you even felt sorry about it.

"i don't think we should continue to see each other" you shrugged, acting as if you didn't even care.

draco laughed, or rather puffed out air through his nose, before he shook his head. "i told you i was sorry"

"it's not about that"

"then what?" he stepped even closer. "something with you friends? i didn't even really see them yesterday"

"that's not it, draco"

there were a few seconds of silence, before he sighed loudly. "is it a guy?"

"no"

"okay, so you're just doing this? for what?" he threw his arms up, like he couldn't understand anything anymore. "you'll come back anyway"

you didn't answer anything, staring at him blankly, not having the strength to even say it out loud. without you wanting him to, he caught the uncertainty in your eyes.

"..you'll come back" he repeated, voice low. "right?"

"draco" you sighed, not knowing what to tell him.

"no, don't be like that" he shook his head and you saw that he was trying hard not to show you how much he cared. "don't act like you have to console me, don't act like you're breaking up with me"

"i'm not" you nodded. "but i'm not coming back either"

he pushed his hands into the pockets of his trousers, not even looking at you when you picked up your bag. you tried to catch his eyes, but it was to no avail. so you just walked away, not even knowing if you felt relieved or sad at the predicament that he would never be coming close to you again.

you walked through the halls of the castle and opened the door to the courtyard. the weather had turned rainy, thick clouds hanging over the towers of the castle, hiding them in the white air. the rain hit the ground mercilessly and you realized too late that it had been a stupid idea to walk across.

"you can't just do that" the voice behind you was so sudden and loud that your bag almost hit the wet ground beneath you.

draco caught up with you quickly, not caring about the rain one bit.

"what?" you asked, continuing your quick walk through the yard. but admittedly it was to no use, considering that you were already wet to the bones.

draco grabbed your shoulder, making you halt in your step and turn to look at him. "you can't just decide that" he said "it's not your decision to make"

"it's not yours either"

"why are you like that?" he ignored your previous answer. "i thought you liked this"

"i did" you nodded, seeing no reason to lie. "until i didn't"

"what does that even mean?" draco pushed his wet hair back annoyed. he wasn't able to understand you and scarily enough, that was the first time in years he failed to read what was going on with you.

"that means that we have to stop seeing each other"

"but why?"

you ignored him, moving your arm so he lost his grip on you, walking further through the wet garden. draco followed you.

"why?" he repeated, "what do you want me to do?"

"nothing, draco, it's fine"

"if this is some psychological trick, i swear to god"

"it's not, draco" your voice became louder, trying to drain out the rain that muffled it. "just forget about me"

"what if i can't?" he had stopped moving, staring at you blankly when you turned around. you had never seen him like this. so vulnerable, so honest.

"it didn't even matter" you simply said, "it was nice for a while, but it's over now"

"so you just decided that?"

"yes"

"but it wasn't just nice" he came closer, his face painfully twisted, as if to try and see your reaction to it. to get something from you. to see if it really didn't matter. "it was different. it wasn't just something"

"then what was it?" you pushed him to say more, to hear what you needed to for so long. "tell me why it was different? i thought you hated me"

"i did everything but that" he muttered and you had a hard time understanding him.

"why did you never say that before?" you asked, stray tears mixing with the rain on your face. "why are you so desperately trying to convince me of something you would've denied if i had asked you before? why didn't it matter before? why didn't you say something sooner?" your voice evolved into a scream, begging him to answer.

"why do you think i always came back?" he matched the loudness of your voice, anger blending with desperation as his blue eyes crashed into yours.

"why do you think i did?"

"i thought you knew" he shook his head, not understanding how it had come so far he had to explain it to you. "i thought i made it clear"

"thought you made what clear?" you asked, your voice louder than his, as he had grown more quiet. "that you didn't hate me? tolerated me even? that you—“

"that i fucking love you" his scream made you shut up immediately, eyes wide as you stared at him. "and maybe i should've actually said that or maybe i'm not what you want anymore—"

"what did you think would happen? did you think i would just accept it? not knowing how you really feel?"

"no" he shook his head "but i had hoped you would stay until i finally gathered up the courage to say it"

"how long?"

he sighed, looking annoyingly sweet as raindrops fell down from his hair and onto his cheeks. he looked like he was crying in an artful way. beautiful even, you thought, as you kept your eyes on his face like your life depended on it.

"mcgonagalls detention in fourth year"

"you couldn't have possibly loved me back then"

"maybe i didn't" he shrugged "but it was the first time i felt like this, when you kissed me"

"you kissed me" you corrected, but unable to stop the smile from breaking out.

"well, what do you say?"

"you want to hear it back?" you asked.

"preferably yes, but for now a sorry would do"

"for now, a hot shower would do" you rolled your eyes. "alone"

"and after that?" his voice lost a bit of it's cockiness, returning back to the insecurity it had held a few minutes before, "what then?"

you pressed his lips against his and he took the kiss with surprise, before he reciprocated it.

you pulled back, looking up at him, drenched from head to toe, but absolutely beautiful in his eyes.

"i'll come back"

[extensionallydefined]

Okay, so, I need to talk about the relationship between Persona 5's ending and Persona 5 royal's ending, because I think it isn't discussed enough how one puts into question the themes of the other and in doing so it elevates everything that came before.

Spoilers are coming, you've been warned.

The main thing that's given me an outlet to think about this is a few quotes from the Phantom Thieves when they're in the Velvet Room after being Thanos-snapped by Yaldabaoth. Specifically these quotes:

Ann: "I... I never want anyone to have to go through what I did!"

Yusuke: "Just as art is meant to break boundaries, people should be saved even if they frown upon it. I won't allow the justice I believe in to be shaken any further!"

Ryuji: "We're doin' this to make sure people don't go through the same crap we did. It doesn't matter if they think we're just or not. We gotta do what we believe in!"

Futaba: "I can't let people suffer like this, even if I don't know them personally"

They mention some core ideas: 1. They want to prevent people's suffering because of the suffering they've felt. 2. They must do this regardless of if people want it, because they think it's the right thing to do. 3. Their justice is worth fighting for by virtue of being what they believe in.

Does this seem familiar? Maybe makes you think of a certain therapist who shows up in Royal?

I think Takuto Maruki serves a decent amount of purposes narratively and thematically, but one of the most genius things about him is that he serves as a foil to both the Phantom Thieves and Akechi, and in being that foil, he is, deep down, following the principles that the Phantom Thieves fought for - In the end, it was largely Joker who inspired him to fight for his reality.

Maruki fights for a reality where suffering straight up doesn't exist, because he doesn't want anyone to feel the suffering he's had to endure. Maruki wants the Phantom Thieves and Akechi to never feel suffering anymore, regardless of their stance on the matter. He is "saving" them regardless of their wishes, and will fight them to keep the reality he wants. He thinks the world is unfair, so his "justice" is to make a perfect world for everyone - and that's what makes it worth fighting for, because that's what he believes.

Maruki's rationale to fight against the Phantom Thieves and Akechi is (partly) the same reasoning that the Phantom Thieves use to regain their motivation to fight the Holy Grail/Yaldabaoth.

So, narratively, Maruki serves as a mirror that's telling things not to be told for the Phantom Thieves to look into and to see the ugly parts of their own way of acting. Can they really fight Maruki, knowing that he is just acting how they did?

I see people sometimes refusing Maruki's reality because it "wouldn't actually work" or "it's imperfect". But as far as I'm aware, it's imperfect because it hasn't been completed yet - I think the game is a lot more interesting under the pretense that Maruki truly has the power to erase all suffering, once his reality is complete, past the deadline. I also see the argument, and even the game uses it, that Maruki's world "isn't reality". But did we listen well to Morgana's speech before he disappeared in the Yaldabaoth arc? The world itself is made up of cognition, reality is born from the points of view of everyone. Maruki *can* change reality, and the real question of the game is not about the logistics or "ontological dignity" of his reality, but rather - Do you want a world where all your wishes are granted and no suffering exists?

In the end, the game shows the Phantom Thieves that "sticking to their justice" will make them fight against people with similar ideals as theirs. It's funny, in a way, how Akechi was the one fully willing to fight Maruki from the start. His rebellion has always been more individualistic in nature than the Phantom Thieves' - he wanted revenge for himself, then redemption for himself and now he wants a reality where he isn't under anyone's control anymore. To him, Shido's country, Yaldabaoth's ruin and Maruki's world are all the same - Maruki just has a nicer, more therapy-speaky way of presenting his proposal, and sees people as his equals rather than as insolent masses, but his goal is the same. They're all worlds that shackle you for the "greater good". And in the end, Maruki, and Royal, force the P5 gang to become more like Akechi - to value their individuality in the face of the public's "justice".

To fight for what you believe in you will face people with the same determination as you. They will be your equals in many, many ways. In the end, you can only stick to your guns and hope that what you believe in is worth more than what they believe in.

I have a lot more to write about these topics but I'll leave it there. Maybe about the relationship between Maruki's reality and individuality next? That could be fun ^^

Btw - Special thanks to @thedaythatwas for inspiring me to write up stuff about Persona 5 Royal!

[smileposting]

what are your feelings on inspekta being both a sympathetic character and a (now former) fascist?

WELL. first of all, i think it's Probably worth noting that even while GGG's representation of the conditions that can give rise to fascism are Uncannily accurate at times (as outlined in this very excellent post by elkian) it is Also a story in which the central message is "maybe talk to your friends instead of conspiracy-posting when you start to feel bad about yourself, dipshit," and therefore its representation of fascism/fascist thought As A Whole is very... how do i say this without sounding disparaging. "saturday morning cartoon"-esque. i think this is pretty apparent in how the worst that the bizzyboys' reign of terror ever gets is banning The Concept Of Art and not, like. genocide. the only Actual fatal threat (the rift) is saved for the very end, and inspekta/hector is talked down before it can actually cause any fatalities -- otherwise, inspekta and the bizzyboys would be very different antagonists that would require the narrative to treat them much more harshly, and this would result in a very different game overall (although not one i would be opposed to playing.)

second of all, i wanna talk more about the idea of GGG being less of a game about taking down a single power-hungry fascist and more an examination of the conditions that can eventually lead to fascism if left unchecked. for just one example, we can see that even before inspekta came into power (or at least, before he started his corruption arc) and even in a world where every god is genuinely kind and just and deserving of their position, it was generally The Norm to not really call them out To Their Face - any displeasure a character voices with a god's (apparent) decision is directed to each other and the godpoke, not to the god themselves, even when that god is perfectly open to visitors and/or feedback. and this is bad because despite the gods no longer being Physically human, they are still just as fallible - they have a tendency to jump to conclusions, they let their devotion to their interests or one another cloud their judgement, they struggle with showing vulnerability (which, ironically, makes them more vulnerable than they would be otherwise.) not only does the grove benefit from regular contact with the gods to make sure that their needs are being met -- it benefits the gods, too, by way of keeping them from getting lost in their own heads and losing touch with their own humanity.

i think it's also worth noting that the bizzyboys are not the only characters we see buying into fascist rhetoric, or at least stuff that benefits fascism in the long run. you could argue that anyone who bought into inspekta's framing of king in the first place also counts, given that to do so would probably Also require one to believe that the gods are infallible. it's also worth noting that a Lot of the more notable supporting characters who fall into this are also doing so out of a profound sense of alienation; saul can't remember the last time he talked to any of his friends and he thinks nobody takes him seriously, pollina's students don't sound like they're being taught much of anything about milldread's history and therefore they have very little to actually connect them to milldread, nobody likes rick brick and he has no interiority to speak of By Design, etc etc. all of these characters, however, are also treated with a fair amount of empathy - ol' bloom turns out to be Correct in believing that saul doesn't have what it takes to kill him and once the issue of the harvest is solved, he's welcomed back with open arms, pollina's students are like 8, and even rick brick's story ends with him beginning to realize that maybe it's okay if a story only appeals to its author and nobody else.

tl;dr: if ggg was even Slightly less cartoony than it actually is, this aspect of inspekta would come across as pretty jarring, but given the aspects of fascism that GGG chooses to focus on and how it treats smaller antagonists, i can't really imagine inspekta's story ending any other way. if i Did have any actual concerns, i'd say maybe it's that the bizzyboys being from the drain + the drain having such a negative connotation can get kinda dicey? something about the idea of fascism being an Evil Foreign Entity and not something that can just as easily start at home doesn’t sit quite right with me. but ofc a lot of emphasis is placed on the bizzyboys' humanity and potential to do good if not for inspekta's own Complexes getting the better of him (and even inspekta's own genuine capacity for leadership before that happened) so that's probably more of a potential bone to pick with fanwork, given how little exploration drain actually Gets in canon.

also i hope this doesn't Need to be said but just to be clear: i'm not trying to like, call out limbolane or Inspekta Himself, just examining what this aspect of his character was trying to Accomplish + how it relates to the game's themes and such. with that said i am very much still a novice when it comes to political analysis of media so if anybody more well-read than me wants to chime in, Please feel free to do so lol.

[heliads]

first of all i just wanted to say that i’m actually in love with your writing and i can’t wait to read more from you!! anyway i was thinking of some good ol’ peter hayes x fem!reader where they were both in candor together and hated each others GUTS, but then when they transferred to dauntless, peter starts developing feelings for reader so he follows her around like some puppy but she’s still on the peter-hate-train. maybe also like he starts talking to some other female dauntless initiate and stops giving reader as much attention and she finally realizes that she likes him

(this is such a long request i’m so sorry)

thank you so much!!

'Bad Liars' - peter hayes

masterlist

Starting out life on your own terms. A fresh page, a blank slate. This is why you decided to switch factions in your Choosing Ceremony, why you agreed to never see your family again except by something as meager as coincidence. Friends, neighbors, blood relations, all left behind with one swipe of a knife against your palm. It’s worth it, though. Running through the streets of your city like your world is on fire, you’re free for the first time in your memory. It’s just you in this new, grand place they call Dauntless.

Well, you and Peter Hayes.

Of all the people to come here with you, of course your fellow transfer from Candor would be Peter. Bold, callous Peter. Peter, who’s had it out for you since you were kids. No child should know that much bitter hatred, but the two of you have been arch rivals since you were small. You’d be lying if you said that leaving him behind didn’t factor into your decision to transfer from Candor to Dauntless even a little bit, but yet here he is anyway. Turns out you couldn’t run that far from him after all.

To you, it makes perfect sense that if Peter Hayes had to go anywhere, he would go to Dauntless. All throughout his time at Candor, for as long as you can remember Peter, he had been crafting his words to inflict as much misery as possible. In the eyes of the faction leaders, anything he said was fair game so long as he was telling the truth, and Peter did just that. He told his truth, which was precisely like reality except warped to cause as much hurt as he dared. 

Peter’s words were honed to a knife’s sharpness, easier for drawing blood than the syringes of your faction’s truth serum. Of course he would go here, where bullets are no longer how he shapes his syllables to spike into your throat but a real thing. Why bother with figurative pain if you can produce the genuine article?

The two of you had ended up here for precisely opposite reasons. Peter wanted to hurt, you wanted to fight back. Candor is full of self-righteous bullies who believe they’re doing the right thing by being uncommonly cruel to anyone they pass. In Dauntless, everyone is finally on a level playing field. If someone insults you, you fight them, and no amount of callous words can save you then. Talk is nothing if you can’t back it up with prowess. For someone who had to swallow plenty of poison back in Candor, Dauntless is like a holiday.

However, the one thing that makes your paradise fall short is the fact that Peter decided to come here with you. He had made his decision independently of you, of course, but you’re still infuriated about the whole affair. This was supposed to be your fresh start, your one chance to escape your past and become something no one expected of you. That’s the whole point of the Choosing Ceremony, isn’t it? To kill off the old you and transform into the best version of yourself?

That had been your plan, at least, and then Peter had made his choice. You wouldn’t go anywhere but Dauntless even if your entire faction transferred over here, but it did complicate things. You had hoped that you and Peter would always end up on opposite sides of the room, then opposite ends of the faction, and never come in contact again, but as per usual, it looks like Peter isn’t much inclined to follow your whims.

From the first day alone, you knew he was going to be trouble. You were one of the first to jump, fresh off the exhilaration of the free fall plunge from the top of the roof, and reeling in the lingering aftereffects of your largest adrenaline rush to date while waiting for the jumpers to take their turns off the edge. The room was crowded, more so with each new jumper to make their move, yet somehow in all that chaos, Peter managed to find you. It didn’t bode well for the remainder of initiation, to say the least.

You had been hoping that the two of you could exchange silent, wary eye contact and then move on, your past shattered and gone for good, but instead Peter wove his way through the throngs of people and came to a stop by your side.

“Look who we have here,” he says, drawing the words out, “Y/N L/N. I never thought you’d have the guts to come here.”

“And I always thought you’d be too much of a coward to leave Candor,” you reply. “Looks like we were both wrong.”

Peter’s eyes widen and he chuckles, evidently not expecting your retort. “Careful, L/N. Didn’t know you had such a sharp tongue.”

“You’ve known me for years,” you say, eyeing him coldly. “If you didn’t know that, you’re about to be very surprised indeed. I hope you didn’t set your hopes on making first place in initiation, Hayes, or you’re going to be sorely disappointed.”

Up ahead, one of the initiation leaders is calling for the trainees to fall in after him. You take this opportunity to breeze past Peter, who’s standing there and staring openly, mouth agape. You’ve put up with his bullshit for many years now, always taking it silently in fear of jeopardizing your position in your faction, but no longer. You’re on even footing again for the first time in a very long time, and you have absolutely no intention of ever caving to Peter Hayes again.

For Peter, it seems, your decision is a very rude awakening. You immediately fling yourself into the intricacies of fighting and running and shooting, which causes you to rise quickly through the ranks of initiates, much to Peter’s chagrin. Although he’ll tell anyone in earshot that he’s only letting you do so well because he thinks it’s funny to watch you struggle, you can see the panic in Peter’s eyes when you crush one fight after another. You meant what you said, after all. It’s first place or nothing, and you don’t intend on settling for anything where Peter’s concerned.

Your rivalry becomes just as well known among your new friends in Dauntless as it was back in Candor. Hardly a day goes by without you and Peter getting in each other’s way, whether it be slamming each other into the ground during a fighting match in the ring or running yourselves ragged in an attempt to be faster, stronger, better. It’s like you can’t get away from him. 

Everywhere you go, Peter is there too. Staying late after initiation to get some more practice with throwing knives, he just so happens to choose the target right beside you. Walking over to the training gym in the middle of the night because you can’t sleep and might as well use the empty hours to improve, Peter seems to have the same bright idea to practice with the punching bags even despite the midnight hour. You don’t like the fact that Peter seems to have such a good knack for telling when you’re awake or asleep, you have half a mind that he might get frustrated of the close competition and take you out while you were sleeping, but he’s never gone that far.

Your friends seem to have a different view of the whole affair. Every time you complain to them about Peter never letting you have a moment’s peace, Tris and Christina, your closest friends in initiation, just exchange knowing looks and begin to tease you. They seem convinced that Peter doesn’t hate you but actually harbors a crush, which is beyond you. There’s no earthly way that Peter likes you. The two of you have despised each other since before you could talk. The whole idea is absurd.

Still, if you were nothing more than an unknowing bystander, you supposed you could see how the situation might be misconstrued. A lifetime of truth-telling in you has to admit that maybe it is a little suspicious that you and Peter can’t seem to go an hour or two without running into each other, that Peter is both your greatest threat and the object of your every waking thought. It’s just because you want to beat him so badly, of course. Of course. If it weren’t, though. If you were thinking of him not because of hatred but for something more–

You wouldn’t. You would never be so foolish. This is how Peter wins, by twisting his way inside your mind until you’re second-guessing every single thing he does, and you’d die before you let him win. If he’s willing to play the game, though, you’ll do anything to beat him at his own technique, so you up the ante and repeat it right back to him. 

Sarcastic comments slip from your tongue whenever you see him. When Four takes the initiates out on guided runs, you make sure you’re jogging right by Peter the whole time, your pace steadily increasing until both of you end each race at a sprint. The rest of the trainees have learned to leave two targets side by side for you two whenever it’s time for sharpshooting practice, and heaven help the hapless initiate who asks one of you to spar as if the other wasn’t standing right there, guarding their territory.

It doesn’t mean anything, though. You still hate Peter to the ends of the earth, and everyone around you had better know it, too. You despise him as much as it’s physically possible for a human being to hate anyone, but then he starts spending a lot of time with someone else, and suddenly the hatred is far harder to come by than it ever was, and you’re not sure what to do with yourself at all.

He’s spending time with another girl. Which isn’t bad, of course. He’s got friends. You do too. But. One time at dinner, you heard Tris saying that he’s looking at the girl the same way he used to look at you, and she wasn’t talking about hate, and you cannot tell whether you were supposed to deny that he’d ever done anything but hate you or be furious at this new girl for stealing his attention away from you, so you didn’t answer at all. You didn’t sleep a wink that night, and gave up a few hours in to try and train some more. He didn’t follow. He always follows. Not this time, though, and when you came back, he was quietly whispering with the other girl. Hatching sinister plans, no doubt, or planning to stab someone in the back. He didn’t even look at you when he came in. It was like he didn’t even care.

You feel sick to your stomach. You intentionally ask other trainees to spar in the ring– look, Peter isn’t the only one capable of moving on– but it’s like he doesn’t even notice. You want to slam your hands against his chest and shout in his face, do anything to make him look at you, but instead you stay sullen and quiet and pretend like nothing has changed even though everything, everything, has.

It hits you, about two weeks later, what the problem is. Like a lightning strike in the dark of night, all of a sudden you know, a knowledge that had been blank and absent before but totally unavoidable now. You like Peter. Hell, you might even love him, if you gave him that chance in your heart. Peter might have liked you, but you brushed him off for so long that he moved on.

It hurts like a jagged hole in your heart. Someone has reached inside and broken your ribs to claw this feeling out from where you’ve so cleverly hidden it, and there’s no disguising the horror of the wound now. You couldn’t escape it if you tried.

You found out this truth about yourself in the middle of a Dauntless party, and it kills your mood completely. You can’t stand the loud music or flashing lights anymore, so you put down your half-empty cup on one of the debris-strewn surfaces and make your way out. No one notices you leave. You’re a ghost on the outskirts of a celebration of life, and there is nothing here for you anymore.

You wander until you end up on the bridge overlooking the pit near the center of the Dauntless complex. You stand as close to the edge as you can, hands gripping the flimsy railing until you’re not sure your fingers could peel away from the rusting metal if you tried. If you’d felt any buzz from the party at all, you’ve sobered up by now. You have no idea how long you’ve been standing here, skin chilled by the drafts of the pit, and then a voice sounds from behind you, and you’re abruptly dragged back to reality once more.

“I thought you’d be back in there with the rest,” Peter says, coming to a stop beside you.

You don’t dare to look at him, opting instead to keep your eyes firmly trained on the drop over the edge of the pit. “I could say the same thing about you.”

Peter sounded genuinely curious when he asked, but your tone is harsher, colder. You still haven’t forgiven him for moving on just when you realized that you liked him, and it’s leaching into your voice. Peter chuckles even still. “No, not me. The best part just left.”

You risk a glance his way, and to your surprise, he’s looking at you. “Are you being honest with me, Peter?” You ask.

His face twists into chagrin. “Looks like we can’t beat the Candor out of ourselves after all, even despite all the training sessions we’ve pulled. I’ve tried, though.”

“You’ve done a good job,” you muse. “It’s me who needs to be fixed the most.”

Peter’s brow furrows. “What are you talking about?”

You shake your head. Maybe you weren’t as sober as you thought. “Never mind. It doesn’t matter.”

“Says who?” Peter asks plainly. “I’m here, aren’t I?”

You regard him suspiciously. “You haven’t always.”

Peter has the grace to look embarrassed. “I’ve done things I regret.”

“I don’t believe you,” you say, and laugh to hide your heartbreak. “I know you, Peter Hayes. I know what you do. I’m not falling for it. Not again.”

“It worked before?” Peter asks, genuinely surprised. “Why didn’t you tell me?”

This time you do laugh for real. “Why would I? And give you another weakness to exploit?”

Peter flinches as if you’ve slapped him. “I deserve that, probably, but I’ve been trying to be better.”

“Why?” You ask. “You’ve never cared what I thought, and you certainly don’t care about being better. Nothing about you makes sense, Peter. You’ve got a girl back there in the party who’s probably looking for you now, but instead you’re trying to apologize to me. You’ve never cared about that before.”

“But I do now,” Peter says, voice unexpectedly strong. When he turns the force of his gaze back on you again, you feel totally rooted in place, unable to move even if you wanted to. And, when he starts to move closer to you, one hand coming to rest on top of your fingers, you’re not sure that you do. “I do care. I’ve been trying to tell you that for weeks.”

“I thought you were excellent at telling the truth,” you whisper.

“So did I,” Peter replies. Hesitates, then says, “Only other people’s truth, it turns out. You were always my best secret. I wanted to keep you the most.”

Your breath sticks to your lungs, refusing to grant you release. None of this makes sense. Peter would never– But he is now, standing in front of you, telling you as much as he can. Peter still wants you. It’s up to you if you want him, too.

After everything he’s done to you over the years, you owe him nothing at all. He’s hurt you more times than you could count. When you’re cold, bitterly cold, freezing down to the bone with no way of rescue save your own rough and ragged principles, you burn everything around you. Clothes, shoes, furniture. Even people. Peter burned you, and so severe was the flame of your mutual hatred that it made it impossible for anything to grow between the two of you but a jealous wrath. 

Peter has left the cold of Candor and traded in his shivering bones for Dauntless’ natural warmth, and now he finally has the room to put out the fire again. He’s stamped out the inferno, or tried to, at least; but upon inspecting the last flattened spark, Peter can’t tell if he went too far. It is immensely difficult for him to discern if he has left anything of you but char and ash. 

What could have been a beautiful thing went up in smoke the moment he first raised a harsh word against you. Peter loves the truth, loves most of all to twist it, but in the end, the truth cannot help him here. Peter knows what he wants the truth to be, but the truth is no substitute for reality. It is up to you if you can ever forgive him, and no amount of pretty words on Peter’s end can change that.

It’s up to you, and for the first time since you came to Dauntless, you know precisely what you want. “I know what you mean,” you tell him carefully.

Peter’s face cracks in a tentative smile. “You know? So you–”

“I do,” you interrupt. “I like you, Peter.”

You have seen Peter furious, filled with righteous vengeance. You’ve seen him bloody and bruised on the other end of a sparring ring. You thought that the brightest emotion you’d ever see on him was the pure flame of hatred, but it turns out there’s one thing better than wrath, and that’s sheer, incandescent joy. He wears it now like the finest of luxuries, and you decide that you’d like to see it many times again. As it turns out, you’ll have plenty of chances.

divergent tag list: @blondsauduun, @gods-fools-heroes, @23victoria, @manyfandomsfanvergent, @imwaysthelastchoice, @crazyhearttragedy, @drinking-tea-and-be-obsessed, @alex-1967s-blog, @aoi-targaryen

all tags list: @wordsarelife

[nynyhaha]

Spider Themes: Partial empathy and the effects of utilitarianism

A huge Spider centric philosophy rant where I’ll digress many times(sorry)

The Phantom troupe is an embodiment of the Robinhood troupe as much as it is a deconstruction and subversion of it. https://www.tumblr.com/nynyhaha/761225991501873152/phantom-troupe-failed-robinhoods

They don’t do what they do for fame or money,but when it comes to using horrible means for noble ends,they also fail. After years of pondering the Spider’s purpose,I’ve found that seeing them as a warped version of heroes makes the most sense. Ex-child soldiers,running rampant after they’ve outlived the anticipated period of self appointed service.

After Sarasa’s death Chrollo clearly states that he sees no possibility for achieving his goals peacefully, in his eyes they never had a chance to accomplish anything while staying the good guys.

Of course he couldn’t succeed if he didn’t even try! But why didn’t he,and why is there so little stopping a person as caring,responsible and community-minded as him from turning around and betraying humanity at large,detaching himself from all the good he could’ve caused?

I love that Togashi let the not yet Spiders as well as us,the audience,see this typical hero cartoon for children where the good always wins because of the magical purity of their hearts. Where if they just believe hard enough,it will be fine.

In reality..all Chrollo can do is bring flowers to honour the graves.

It means there was always a separation between fiction and reality for him,despite being eager to watch and dub the power-cleaners story,Chrollo never believed it. Or maybe he did before he found Sarasa,after which all the illusions he might’ve had shattered.

The knows it takes a sacrifice to make great change,not just of his life but of his morals.

Chrollo shows an unusual level of self awareness for a child. In the following panel he announces he’s going to become a villain. Not a rebel with a cause,or a noble avenger,a VILLAIN. His view is so pessimistic,that it must take a villain to defeat villains. There’s no way to keep his “pure heart” and all this talk about ✨faith✨ was bullshit. To me this is a very interesting summery of Chrollo’s view of his role. It’s how he assesses it before he actually does anything,which makes it all the more fascinating since we don’t know how much his outlook changed once he actually started his plans. Or do we?

Why utilitarianism? Isn’t the regret he shows here in advance indicative of deontology?

If I was tasked with defending the Spiders and presenting them in a more favourable light,I’d pull up with the combo of

-“us vs them” -> they were defending their very marginalised community that the world turned its back on,against such horrible organisations as the mafia. Their initial mission is self defense. One might also look at it the way aot fans do,where being mistreated by outsiders justifies crimes against them.

-utilitarian principles-> even if innocent people were hurt in the process,it’s worth it in the end because a greater number of innocents are saved.

Chrollo however,simply says he’s going to kill a lot of people,not specifying if

-he will kill more people than he’ll save

-he will kill more innocent people than he’ll save

-he will only kill bad people

-he will kill outsiders for the sake of meteorians

But I assume he’s going to kill those whose lives he still values,why else would he feel bad about it? In that moment we see a person who is torn between two extremes,and chooses one whole acknowledging the other.

Chrollo in that instance does NOT believe that killing evil outsiders is a righteous quest he’ll embark on,neither does he believe that killing many,even for the sake of saving many,is justified. He still decides to do it,just not as a hero,but as a villain.

Sarasa wouldn’t want it because she didn’t live long enough to experience loss and hate,altho she did experience extreme pain so who’s really to say she wouldn’t have wanted revenge? Either way,it seems Chrollo isn’t just talking about going against Sarasa’s principles,he’s talking about abandoning his own,that the two of them shared until she died together with his naivety and innocence.

The last three speech bubbles are the most puzzling for me. Unless by “repenting” he means being held accountable and paying for their crimes,this opens up crazy ideas about those kinds of people actually feeling bad about their crimes.And the notion that legal systems are powerful enough to cause such changes in a person.

This raises the question whether Chrollo will ever repent for his crimes.The answer is yes,he did already…Before he even committed anything.💀💀

Since this post is a HxH analysis mixed with philosophy,let’s look at honouring vs promoting values.

Honouring the value of human life would mean never ever taking it(Sarasa’s alleged view)

Promoting its value in this case would mean fighting for the recognition of meteorian lives by the world and stopping the mafia from killing more kids,even if for that you’d need to kill (Chrollo’s path)

In short,kid Chrollo holds values he’s willing to break and about to abandon.

The Spider ends up operating on the two principles mentioned above,valuing the whole over individuals and acting in favour of Meteor City at the cost of outsiders.

When I say “utilitarianism” I don’t mean maximising good or happiness,but acting in favour of the goal/organisation above all else

Inheriting values:One for all and all for one

The Elder here promotes the value of life of his people,he’s willing to sacrifice 31 of them to do so. Mathematically this seems stupid at first:killing 30 more people than the one originally harmed? Couldn’t more lives be saved by inaction? Couldn’t Chrollo keep his friends rather than losing four more over the death of one?

But,consider how this incident paints Meteor City,how actually standing up for themselves in such a brutal way does a great deal of inflicting fear on the world,likely preventing it from wronging Meteor City again. 31 people may die for the message,but spreading the message will help the sum of people living in Ryuseigai. Well,it’s supposed to help,and for the sake of argument let’s say it does.

Similarly 13 people giving up their lives can help the community as a whole. Will I ever shut up about the Spiders breaking the mafia deal? No.Because by doing so,they accept the responsibility of protecting their home from any threats AND getting the necessary money(haha,it can never be enough)

If just 13 people will commit enough crime to gather whatever the mafia was previously paying the city,there won’t be any need for human trafficking AND they’ll commit the crimes on their own terms! ✨Independence✨ through 🕸Spider Scapegoats🐐

Basically,the Phantom Troupe can be the sole solution to many problems,even if they’ll never solve the core of them. That,and the immense pressure that lies on them,might lead to nihilism and loss of any motivation which drove them to start what they do in the first place.

The loss of empathy

Chrollo’s definiting character trait is his relationship with humanity and his connection/disconnection from it. He’s speaking as if he’s not human himself,and in the fight vs Hisoka he displays just how deep he’s sunk on his journey.

He uses bodies as instruments(for utility),specifically the bodies of the audience(people who might not be “innocent”but have very little to do with him). He couldn’t care less about them. The Elder used the bodies of his own comarades,but how much did he care about them if he was capable of such a thing?

The Elders remain enigmatic but my impression of them is that of a powerful but inefficient council of people whose task is so enormous it numbed them to minor things such as necessary deaths. Much like the Spiders,the Elders have to use horrible means for an end too big to achieve. They don’t even have an end,they just run the worlds biggest orphanage and homeless shelter,a “safe” oasis for anyone abandoned and wronged by the world. They’re supposed to be fixing whatever injustice there is,they’re peak philanthropists and altruists,so much so that they’re willing to kill and arguably sell out (traffic) a number of residents for the sake of the whole of them.

It’s a matter of scale for them. Or maybe not even,it might not be about efficiency anymore.

They’re not unlike normal politicians,arguing about semantics instead of taking action. At least in that way the Spiders are better,and since “nothing has changed” the chapter illustrates exactly why the Spider is needed,the Elders have apparently always held this outlook.

Yes,because they actually go deal with the problem and figure out if the transformed residents can turn back. When they can’t,we see them expressing sadness about it

We even got Fei looking sad. Sad.FEITAN.Am I hallucinating?

Once Phinks figures out a way around feeling too bad about killing their fellow citizens,the other Spiders also regain their confidence,now knowing what to do. I’m grateful for the manga because the anime wasn’t as expressive with their expressions,lol.

We clearly see them concerned for people outside the troupe,and while Phinks hates feeling pity because he sees it as dishonourable for the ones turned,it’s obvious that that’s what he experiences.

Speaking of Chrollo..Wasn’t Phinks the one arguing against going to save him?

Self dehumanising/Cog in the machine

While the strong bons between members humanise them to no end and create the cognitive dissonance (how can this silly friend group commit such atrocities?) they actually show quite well just how much they have to put on line to live as they do.

If the Spiders didn’t care as much for each other we wouldn’t care as much for them either,and we wouldn’t see what the Spider-set up takes from them.

Firstly we have Shal causally determining someone’s worth by their ability ✨😀

Next we have Shizuku calmly speaking of her death as if she’s talking about the weather

This moment especially shows how much Chrollo’s cold,tactical approach can hurt,cause I was pretty annoyed at him at that moment. He’s only being reasonable tho,wanting to avoid more deaths while Nobunaga is being emotional. Still,his friend just died and while not letting that death influence them to the point of losing more people makes sense,the way Chrollo phrases it “you were willing to die,so Uvo was ok dying but those other members are crucial so they need to live” is very cynical. We know Chrollo is far from accepting Uvo’s death and his way of coping through the requiem can only do so much,however when he needs to,he shuts his emotions off completely.

Judging each other’s worth based on ability and how strategically useful they are to the Spider runs contrary to the notion of friendship,it forces them to see themselves and each other as instruments,as mere cogs in the machine. While some Spiders hold those principles more strongly,the whole organisation operates this way.

Chrollo designed it that way,since they all went into it ready to give up their lives,he made the organisation a priority but not the individual. Still,when the time finally comes to out his ideas to the test,only several members stay true to his principles.

This is the same Phinks who acted like a girly girl with a crush,worrying about Chrollo,unable to wait. Ok,maybe losing Pakunoda and seeing Chrollo through her eyes changed him,but I don’t think that’s likely. Phinks cares about Chrollo but he cares about the Spider more.

Feitan will also break rules of negotiation and risk Chrollo’s life to find out more information. He seems to see no obligation whatsoever to play fair and obey the enemy’s rules,I also don’t believe he has a concept of 🕸honour among thieves🕸but he did max out on loyalty.

While Phinks’ and Feitan’s actions seem to just stir up trouble,once we understand their pov it all makes sense.

If you put the Spider first,why would you NOT go above and beyond to ensure you have all knowledge you could possibly get and secure the most advantageous position? He’s not doing that because he’s a sneaky little shit but because he’s operating on the principle of maximising the Spider’s strategic advantage!(im such a good advocate for my boys)

We also can’t forget that the well-being of the Spider as a whole overlaps with the well-being of the majority of its legs,which means choosing the spider in practice is synonymous with playing it safe and protecting the remaining members

As harsh and damaging their approach may be,in some way it’s inevitable. There was no right choice in this dilema,and there was also very little certainty so it was a matter of trust.

-Kurapika might play dirty and actually control Pakunoda as far as they know

-Its Chrollo’s death vs a guaranteed but unspecified number of Spider deaths

-preventing further deaths is good both for the whole and the individual members

Also Chrollo being “worthless as a hostage” might just mean he’s on a democratic standing with the rest and isn’t more important than them. He likely made this rule to prevent others dying for him just because he’s Danchou (and failed)

Conclusion: An organisation such as the troupe HAS to operate on utilitarianism if it

-serves an important purpose (guard dog of Meteor City)

-is valuable by itself and most concerned with persisting

No matter how you look at it, whether the Troupe selflessly performs acts of necessary evil for their people,or if it’s a cult/collective entity that exists without any clear reason,it’s survival is more important than the survival of its individual members. Which is a shame,because it poisons the very bonds that were formed while they fought for their cause side by side.

[teecupangel]

Normally, Desmond is sent back in time to mess with things.

But what if it wasn't him?

Like, maybe Desmond couldn't go back in time himself but he could, in the split second he touched the apple, send someone else.

What if one of his ancestors went back in time? (Upon their deaths or something.)

I imagine a young Altair (who might be using a fake name) running around Italy with a tired Ezio following like a worried mother hen. (No, Claudia, he is not hovering he is just concerned) He ends up taking Altair under his wing (No, Claudia, it is not adoption.)

Or maybe Altair ends up in Bayek's time, Oh! Or Connor in Ezio's time. (Edward and Ezio would either get along badly or be too powerful if they were together in the same time period.)

These boys ruin the timeline and somehow save the world/future by simply stumbling through everything with no clue what's going on. and of course the power of friendship and really sharp blades.

Desmond and Clay are laughing their asses off in the afterlife as their ancestors destroy centuries worth of carefully calculated plans. (They might also manipulate things a little to help.)

And the time traveling ancestors for the most part, are doing the best they can in their current situation.

They are freaking the fuck out the whole time but are excellent at hiding it.

Poor Ezio.

(No, Altair, you can't kill that person because that have information we need, yes, I'm sure, Claudia don't encourage him.)

Well… How about we add some… ‘order’ to the chaos?

Desmond only had a fraction of a second to send his ancestor back in time.

And he hesitated.

He didn’t know which one to send.

Should it be Altaïr? Altaïr always felt like he would find out what to do even if he was given only minimal clues.

But Ezio was his prophet, the one he had been with the longest…

Ratonhnhaké:ton though… he deserves answers. He deserves the truth.

And when he woke up…

In that endless sea of gray…

The first word he heard were…

“’Morning. Which fucked up timeline do you want to hear first?”

Desmond sat and blinked as Clay stood before him, arms crossed with a smile that doesn’t reach his eyes.

“Uuuhh…”

“Do you want to hear about how Edward Kenway managed to save his grandson and his grandson’s mother from the fires that should have killed her?” Clay asked before adding, “Oh… and he’s learned that his son’s a Templar by the way. At least, one of his old friends believe he’s actually Edward Kenway. If you think the Kenway Family Drama is bad when you were reliving Connor’s memories, then you gotta see the top tier drama that’s happening with Edward and Haytham right now.”

“Or maybe you want to hear about how Connor got kicked into Ezio’s time? He has no idea what’s happening but he got appointed as Federico’s combat instructor. He knows jackshit, by the way, about the tragedy that’s about to happen but, hey, at least Giovanni believes he’s an Assassin from another country or something. Oh.” Clay rubbed his chin as he added, “Connor doesn’t like how close Giovanni is with the Medici by the way. Lorenzo reminds him a bit of Washington or maybe he’s projecting, who knows?”

“Maybe you’ll like to know how your dear prophet is doing? Well, he’s doing badly in preserving the damn timeline that’s for sure. Let’s see… he got in touch with Alamut and managed to bluff his way into making them believe he’s the mentor of a destroyed Assassin branch from the crusader lands, he got the mentor’s permission to make his own branch in Levant, made a deal with said mentor to become a thorn in Al Mualim’s side and find out what he’s hiding, adopted Altaïr and even went as far as adopt Abbas because he believed he could ‘change’ things.” Clay was quiet for a moment before he added, “Oh and his branch is in the underground temple in Jerusalem so he has the Apple with him already.”

“Then there’s Altaïr.” Clay said with such… annoyance Desmond was actually afraid of what Altaïr had done. Clay rubbed the side of his forehead as he started, “See, they can only be transported into what counts as their past so we can’t have something like Altaïr being pushed into his future in Ezio’s time or something. And, since your only instruction to the Moraes was to ‘change the past’, they had to improvise with Altaïr considering he’s more or less the starting point. They had to pick another one of your ancestors who was important to your past and this world’s future so…”

“Altaïr’s been sent to the time of the Isu-Human war and his knowledge of the POEs and getting unconstrained access to the POEs at their full power… well… let’s just say…” Clay’s tone was drier than the desert as he said, “The Isus didn’t know what hit them.”

Desmond could only stare at Clay as he said.

“Soooo… which one do you want to contact first as their ‘patron’?”

[sciderman]

Hi Sci, I hope you are healing amazing, I have an idea but I do want to see the opinion of an expert of DP an Spidey (you).

I love musicals, and I do believe that a story with those two as protagonist in a musical environment could be something silly but with a lot of potential.

Although I do not know a lot of music theory, I imagine how the plot could work.

A weird phenomenon is occuring that everyone sings and dance just because, while Wade enjoy it, Peter hates it (He has his own self image issues, and the possibility of Spiderman singing and dancing, is an idea that terrifies him), so Deadpool and Spiderman team up to investigate this phenomenon and stop it. (In this scenario both heroes are aquantainces, although Deadpool wants to be besties).

In this story there is gonna be a lot of action, comedy, but what it is more important is the character development, both will have to face their self worth issues, so they can grow individually but also their friendship (with a bit of sexual tension).

What do you think?, what would you add so the story can achieve it's full potential (the musical part is not as important as the plot development)

hot and sexy concept! consider:

similar to the laws of most musical universes, when a character bursts into song and dance it is usually to express a big emotion or desire or truth that the character has been holding down deep inside. hence: spider-man is terrified that if he breaks into song, it'll reveal his secret identity or any other such million different secrets peter would prefer to keep locked away where nobody can find it

wade thinks it's fun and cool and chooses to sing even when he isn't actually really being compelled to - in fact, no music swells when wade sings - he just chooses to do it. he makes up songs on the fly and they aren't the big showtunes that everyone else is getting when they burst into song - nope, there's no backing track, save for maybe some buskers that he hassles to accompany him. there's no thought-through melody or even profound lyrics - and he fumbles on rhymes, but he doesn't let it stop him. he wants a showstopper tune so bad. but all he rhymes about are like, foods. and whatever he sees in front of him, and like, nothing profound. so the orchestra doesn't care for him.

there are a few times when peter's aside, on his own, and the music begins to swell - and only when he really, truly feels like he's on his own, he's about to open his mouth to sing and it's interrupted by wade every single time. at times wade knows there's about to be a musical number and tries to edge in or turn it into a duet but the orchestra just fumbles out as soon as wade's janky lyrics start. and wade's like, dancing like untz untz untz on the stage trying to keep it up but the music fizzles out and he sighs, defeatedly.

so we're following this character whomst the orchestra gravitates around trying to force a song out of but peter absolutely will NOT bite and/or is always interrupted - and a character who desperately wants his song and dance but the orchestra won't let him have it

they're constantly at odds because wade thinks this is awesome and he kind of doesn't want to stop the villain responsible for it because? a world where people randomly burst into showtunes? that's awesome. and spider-man's just with the reasoning that his identity is at risk. he has so much to lose. and what about all the people who have secrets to hide? what about people who will be put in danger? you wouldn't get it. mr i-only-sing-about-tacos.

wade's bummed. goes off alone, all sad. has this little aside where he tries, so so hard to have his own song. the orchestra swells. he opens his mouth, but the key is wrong. he fusses and asks the orchestra to play in an e-minor. he clears his throat and he tries again. still off. can we get it a little more upbeat. better. let's introduce some maracas... yes.. okay... now we're getting it. some saxophone, if you please. needs more cowbell. and wade's shaking his hips and REAAALLY feeling it and he's about to open his mouth and

the ground shakes and we're about to finally be acquainted by our villain,, and it's a musical battle and fists just aren't cutting it. peter's trying to beat the shit out of the villain but keeps getting blasted back by music. wade cottons on that they need to fight fire with fire and tries to get the orchestra back on his side but his lyrics are Not fire and musical yo mama jokes only take you so far.

eventually emotions come to their high, maybe when they're finally facing the big bad, peter can't help but finally let out his song - maybe it's a duet, if you want to be gay about it. peter sings his truth and it blasts our villain away, babey. they save the day.

after this, wade and peter return back to an nyc that isn't bursting into song every 5 minutes and peter's so, so fucking thankful. they shake hands. wade pulls peter into a hug. they're at train station.

a busker is playing a violin. wade starts to sing.

peter begs him not to.

a percussionist on stage joins in.

wade puts his whole deadpussy into it.

wade finally gets his own heartfelt closing number about all the feelings he felt and all the things that he learnt, and how he and peter will always be friends forever.

(peter: i'm leaving)

[chuuya-kisser]

im finally free so that i can fucking scream abt bsd 117 and tell my thoughts on this heartbreaker of a chapter (will def make another post feeding my delusions)

(spoilers utc)

firstly.

ASAGIRI. WHAT THE ACTUAL FUXK ASAGIRI. ASAGIRI WHEN I CATCH YOU ASAGIRI I THOUGHT YOU WERE KILLING-YOUR-CHARACTERS-PHOBIC?????? NOW YOUVE MELTED TWO IMPORTANT CHARACTERS IN TWO CHAPTERS???? WHOS GONNA GO NEXT CHAPTER HUH WHO'S NEXT IN YOUR DEATH NOTE

well

Uh yeah so anyways basically heart broken for multiple reasons so we'll go in order

1- aya. oh my gosh aya. shes what, a ten year old?????? and in the span of a day, she has found out about a vampire lord who is responsible for destroying or saving the whole world, shouldered the responsibility of getting said vampire lord away from the enemy to save the world, developed a father-daughter relationship with said vampire lord, sacrificed herself and got saved by him, believed that the world could be saved now, saw her new father figure's body be torn apart and replaced by a greasy ratass who wants to destroy everything or whatever, with said new father's last words telling her to run to save herself, being saved by said father, then having him dissolve and die again in front of her eyes again. shes a ten year old. what the actual fuck. oh and don't forget, she doesn't know that she lost her other father figure too!

gosh she is going to be SO traumatised and even that is an understatement i really hope she has the strength to recover

2- so akutagawa is back huh? about time, about time (though im not very happy about the cost it took- but atleast he's back?)and he has agreed to protect aya on brams wish? thats surprising honestly, so im wondering if the stuff atsushi told him while fighting him at the airport or whatever affected his subconscious or something so that he consciously wants to start protecting people?

OR maybe! he sees a bit of himself in aya or smth? i mean look i dont exactly remember what happened before he met dazai and was taken in by him okay, dont come at me. but maybe he sees that terrified little kid and something stirs in him or smth anyways go akutagawa go you're her third father figure please dont die again ‼️

(also he looks so good-)

3- and the biggest bombshell

kunikida.

KUNIKIDA‼️‼️ NO NO NO THIS IS NOT ACTUALLY HAPPENING PEOPLE THIS IS NOT I REFUSE TO BELIEVE IT I AM IN DENIAL

just- THINK ABOUT EVERYONE. think about atsushi and tanizaki. who saw him disappear slowly in front of their eyes, to buy them time. think about fukuzawa. who wished for kunikida to be the next president because he was the most ideal. who cares so much, even if he doesnt show it as much. think about aya. she has such a deep bond with kunikida, and now she'll have to face the devastating news that one of the only people who truly believed in her is gone too. think about ranpo and yosano.

think about dazai. who is much too far away to do anything right now, who miscalculated once which led to him being too far to stop fyodors rampage in any way. who was truly doing all this because he wanted to keep the detective agency safe. who, when he realises what will happen next, his first thought is to warn them. who was his new partner, kept him alive, even made him a part of his schedules. who i think he must have to care for, even a little bit.

dazai, who thinks that anything worth wanting is always lost the moment he obtains it. and its happened again. and by the looks of it, it will happen again.

i genuinely want to know how he'll react but i dont want to at the same time. gods i cant fucking do this man

like huhhh asagiri are you tryna make me cry or some shit???? Because youre succeesing SPECTACULARLY

also- are we gonna see tanizaki get liquefied too next chapter? because this panel sure looks like it

im scared for september now like what else are you gonna throw at us, huh asagiri? and what do you mean i have to wait a whole month this is crazy

and i am STILL in denial and will continue to be in denial guys wdym, ofc kunikida is alive and well! hes coparenting aya with bram, having fun at the agency and stuff ‼️‼️ hes perfectly peachy theres no helicopter singularity out for everyone's lives!!! (wow this post is LONG)

[mari-lair]

Kou's perception of Mitsuba, and how it changes, is fascinating to me.

(Quick note: I’ll be calling the human ‘Sousuke’ and the supernatural ‘Mitsuba’ to make it less confusing)

Let’s rewind to Mitsuba’s introduction in Hell of Mirrors: Kou leaped at the idea that Sousuke was back. Even after Tsukasa told him this isn’t the same person he used to know, merely an "artificial ghost with part of Sousuke's soul", Kou subconsciously rejected the idea.

Mitsuba’s existence brought his grief back full force, and while he could sense that Sousuke’s memory doesn’t perfectly match reality, logic was never his strongest motivator in hell of mirrors, he is so full of hope and desperation: He wants Mitsuba to be Sousuke so bad.

He can’t let go of the past, he is not seeing Mitsuba, just shadows of Sousuke.

Kou wasn’t able to tell this is not his old friend, simply perceiving Mitsuba as an amnesic Sousuke.

Kou wants Mitsuba to 'remember' him when we know from Mitsuba's empty mirror that he has no life to remember. Kou calls him what he had called Sousuke and gives him Sousuke’s photos, visibly desperate to get his friend back.

Even when they get out, Kou did not allow himself to face reality, talking about Mitsuba as if he was Sousuke, pushing what Tsukasa had said away.

“I thought he was gone for good” “I didn’t think I’ll ever see him again” “Because I couldn’t save him” Is all about Sousuke, which, as Tsukasa explained, “Sousuke doesn’t exist anywhere in this world anymore”

Kou only starts to realize what he has been doing and face reality in picture perfect, when Mitsuba shows him Sousuke’s life on the windows, calling Kou out for only focusing on his dead friend, ignoring Mitsuba, and using him for his own selfish reasons.

Kou is reminded of his trauma when Mitsuba breaks the window with Sousuke’s memories in it, but it does serve as an efficient wake up call.

Kou actually looks at Mitsuba here. He is dazed and shocked but he pays attention to what Mitsuba is saying: he is able to sees him as his own person. 

Mitsuba is confident no one cares about him, so after venting, completely breaking this world's facade, he sucks up his tears and goes back to his human form, offering Kou his dreams.

This time Sousuke’s image isn’t overwhelming. Kou doesn’t want to believe in this fake world now that he can see through it: Now that he can see Mitsuba.

He understands this is his own wish, not Mitsuba’s.

He can see that this lie is hurting Mitsuba.

Kou understands that there is truth to Mitsuba’s words. During all the fun times they spent together, he had been picturing Sousuke by his side, he wanted to have Sousuke back so badly that he never considered Mitsuba’s feelings, or how his wish to replace him would be hurtful.

Kou is a selfish person full of genuine kindness: He still wishes Mitsuba was Sousuke and he feels guilt for ignoring Mitsuba.

“You can’t find happiness in a fake world” is a message to both Mitsuba and himself. Once Kou snaps out of his dream, he realizes it would only lead to ruin and tries to drag Mitsuba out of his own delusions, and while he has some points, he doesn’t understand that promising a better reality, giving him hope, is cruel.

Kou genuinely wants to understand Mitsuba, so he hears him out, and pays full attention to his distress.

There is still the solid weight of his failure with Sousuke in Mitsuba’s very essence, but despite them looking the same and being very tied together, Kou is determined to focus on Mitsuba, he doesn’t want to do the same mistake again.

I won’t go in depth on Kou’s lack of care about his own life in this analysis, but I think it is worth noticing this offer was for Mitsuba, not Sousuke, and Mitsuba could see that.

Mitsuba doesn't believe Kou can make him human, but he understands that he is serious, and that Kou will try.

He gets the feeling that maybe, hopefully, Kou cares about him too, not just Sousuke, so it freaks him out that his possible friend throws himself out of the fucking building.

The last thing Kou wants is to hurt him, so he apologizes for being reckless and trying to sort out his own feelings without considering how Mitsuba would feel.

Despite this determination to be closer to Mitsuba, he subconsciously puts a distance between himself and the supernatural. He accidentally keeps ignoring him.

Remember this:

It’s about Kou’s wish, but it shows one of Mitsuba's own wishes, one weaker than his burning desire to be human, but no less real: The wish for friends.

Friends are one of the reasons he went along with faking to be Sousuke, friends are one of the many reasons he wants to be human in the first place.

But unfortunately, this is a wish he shares with Sousuke, so Kou blocked it out, not wanting to overlap the two, even if wanting to be friends is a part of Mitsuba too.

It’s complicated.

Being friends meant so much for Sousuke, and Kou doesn’t want to be reminded of him.

Kou understands seeing Mitsuba as Sousuke is an insecurity of Mitsuba and truly believes that the supernatural deserves better, he should be his own person instead of a shadow of Sousuke. Kou recognizes this difficulty separating the two is his issue, not Mitsuba's, so he is determined to make sure it doesn't become a problem again.

This need to separate the two makes it so he can’t see Mitsuba as a friend, or if he does, he can’t voice it. He has never called Mitsuba a friend unless he was thinking of Sousuke or mistaking him for Sousuke, whose friendship he treasures. Even when Mitsuba had expressed he want Kou to stay in this world as his friend, the wish didn't register, and Kou focused instead on the far less achievable, but completely detached from Sousuke, dream of turning him into a human.

Mitsuba’s dream is important to Kou, and Mitsuba noticed that, since his vent was a moment were he had Kou full attention on him instead of Sousuke, so Mitsuba eventually used his dream to distract Kou from Nene’s lifespan and their dilemma in Mei’s world.

Unfortunately, this is, at its core, just a distraction: Mitsuba may believe in Kou’s determination, but he doesn’t believe Kou has the power to grant his wish, he isn’t expecting Kou to find a solution, and he never pressures Kou about it after, he only said this because he doesn’t like to see Kou in distress, it makes him uncomfortable, and so he needs him to snap out of it.

Mitsuba has no idea how huge this is for Kou, how important it feels, cause Kou feels as if no one had ever expected anything from him before.

Even when Hanako expected him to save Nene, Kou had no idea so much trust was put on him, because Hanako only told him this:

And Kou was frozen in time, unable to hear a thing, when Hanako added this:

So in Kou’s point of view, Mitsuba is the only one that expects something from him, the only one that depends on him. (which is diferent from people depending on his role: like his siblings needing a housekeeper)

Kou talks big but in the end, he is just an overwhelmed 14 year old: while he is determined to make Mitsuba’s dream come true and fully separate him from Sousuke, he has no way to help him, and it is hard for him to not see Mitsuba as Sousuke. It’s incredibly hard.

It may have been presented in a comedic manner, but we know this haunts him all the way to his dreams.

Add in all the romantic undertones of his interactions with both Mitsuba and Sousuke, and Kou really has a big crisis.

He only fully comes to terms that Sousuke is gone when he visits his mom and sees first hand the impact of his death.

He processed and mourned Sousuke's death, he can truly separate them now, but things are still far from simple.

What exactly is his relationship with Mitsuba? It isn’t as easy to understand as his relationship with Sousuke.

Let’s see how his wishes manifest to illustrate it. This is his wish with Sousuke:

It's the wish to have been a good friend to Sousuke while he was alive. Depending on where you read, the translations may be ‘you were my friend’ or you ‘are my friend’ but regardless, it has Sousuke wearing his death clothes and thanking Kou, which shows that Kou has moved on. He has accepted his death, no longer wishing for Sousuke to come back to life.

His wish with Mitsuba may start simple enough: Kou wants to be missed, to be wanted.

But grows out of control very quickly.

It’s strange. Dangerous.

It’s important that when the Fake shows up in the red house he is a supernatural, not a human like Mitsuba wishes to be. The fake also wants Kou to fulfill his promise from picture perfect and die so they can be together, which is something Mitsuba rejected, angry with Kou for his reckless behavior.

This wish to stay by his side forever is purely Kou, though it's not as simple as Kou wanting to die: Keep in mind that many of the house wishes are merely things Kou subconsciously wants because it would give him an easy answer to a dilemma he is being troubled by: Like when the house materialized an evil Hanako telling him to “exorcise me before I kill everyone” because all his problems would have been easier to solve if the world was more black and white.

If dying, ending it all, really was a deep wish of his the house would have shown him an easy way to die: For better or worst, the house is very straight to the point with its temptations, when Kou wished for a legendary weapon that would ‘save senpai in a flash’ the house gave him exactly what he asked for, when he got hungry it showed him food, so if he seeked death itself, even if subconsciously, the house would offer him a noose or a drop as high as a school building, not something so tied to the idea of being wanted, to Mitsuba trusting and believing in Kou.

Kou has very little self-worth and sees his own life as a disposable tool for others, but I do not believe being willing to die and wanting to die are the same. He mostly wants an answer about what to do with Mitsuba, he wants to be the one with the solution to his problems more than he wants to make Mitsuba human, and the only solution he can come up with is to become a supernatural, so the red house gave him exactly what he wants: a solution of his own making.

Kou is very self-centered, the Fake may be twisted, but Kou had always accidentally distorted his relationship with Mitsuba, the unease he felt facing the fake is likely because it isn’t what he expected to see, but it isn’t alien either, it’s similar to things Kou has thought before:

Now, Kou doesn’t want Mitsuba to be helpless, to consume his life, he have no malicious intentions whatsoever, but he does want to be needed. Kou is desperate to be needed.

He feels like he is never seen as reliable: He had bonding moments with Nene on many occasions but she has Hanako, whose actions are morally questionable at times but he does get results, unlike Kou. Teru loves him but kept him in the dark about the exorcist world for his whole life, Tiara loves him but Kou seems to be under the impression her favorite bro is clearly Teru, and anyone else wouldn’t pick him as their first choice.

In contrast, Mitsuba is very attached to him, Mitsuba has a wish that he had asked Kou to grant him, and Kou had attached himself to Mitsuba just as much as he has grown attached to the idea that Mitsuba needs him.

Kou’s wish to be with Mitsuba and his deep wish to be needed are interconnected, Kou wants so so much to help him, to not be a disappointment again, that he became obsessed. Ironically, while Kou wants to be trusted, he doesn’t trust himself, and this determination to grant his wish blinds Kou from bonding and granting Mitsuba's wish for friends. Kou does have good intentions but he is doing what he wants, he is not paying attention to Mitsuba.

Kou doesn’t want Mitsuba to worry, Kou wants to help, and he can’t see his lack of self preservation hit Mitsuba too. I personally think Kou is aware his selflessness is inherently selfish but he hates that part of himself, because he rejected all his wishes in the red house but was able to admit to himself later they are his wishes.

He seem to acknowladge this but still reject it, cause he keeps doing the same mistakes: He may have apologized for jumping in picture perfect but he keeps missing Mitsuba’s intentions.

He is at his most selfish with Mitsuba and yet, I have no doubts he genuinely cares about him.

When he does see Mitsuba again, he is happy he is ‘good’ and he has both a heavy romantic energy and a noticeable distance. In hindsight, I’m not surprised he called him an acquaintance.

Kou likes him but he isn’t sure if is because of Mitsuba or because Mitsuba reminds him of Sousuke, so Kou had put a mental block on the idea of them being friends. Mitsuba very existence was born out of his failure with Sousuke, and have a big tie with Kou’s self worth. Any romantic feelings he has are being suppressed, and yet they do have a connection outside Sousuke. Kou is so focused on not disappointing Mitsuba he sabotages a lot of chances of connecting with him.

So what are they? It’s not as simple as ‘not quite friends and not quite lovers’, they are deeply affected by each other but know so little of the other they are basically strangers. They put their wishes on each other (”I want friends” “I want to be needed”) and yet misread what they are expected to give. They want connection and are afraid of not being as important to the other as the other is for them: They are a loving and tragic mess.

I am not surprised Kou had a breakdown when Mitsuba told him to exorcise him.

At this point, Kou is able to see Mitsuba as his own person/monster, so I feel like the request to be exorcised doesn’t make him remember Sousuke’s death, but it does bring back Severance trauma: We haven’t seen a Sousuke flashback in ages, but we got plenty of little panels of Mitsuba in the severance from Kou’s pov.

Outside the distress of Mitsuba wanting to die after Kou just got him back, it’s important that Kou focuses on how he needs to eat to survive after the severance, and instead of being disgusted as Mitsuba expected, Kou takes it as a personal attack, as a declaration Mitsuba also has Tsukasa to rely on.

Kou doesn’t care that Mitsuba is a monster, it was one of the main things he used to differentiate him from Sousuke, is old news, but he does care that Mitsuba still wants to be human but have gave up on ever being one. By doing so, Mitsuba indirectly admits that he doesn’t believe Kou can grant his wish, which is a promise that Kou had put a lot of his self-worth in, so it feels like Mitsuba doesn’t need Kou.

The only thing Mitsuba seems to need Kou for is to exorcise him.

Kou needs to handle both the realization Mitsuba wants to die and that he doesn’t believe in him, that’s more than enough to break him. Add in all the repressed feeling he have, both of friendship and romance, and dear lord, please help this kid.

These two have so many communication problems I hope they talk in the next chapter.

[soft-pine]

i believe it's what you would call a tragedy 

hello tomorrow is november 19th. and i need to reserve that day for fix-its and talking about how dean is extremely, aggressively, flamboyantly alive.

but i do want to talk about the supernatural finale. content notes for discussion of Dean's death and mentions of abuse and sexual assault.

i've rewatched 15.20 as much as some of my very favorite episodes of supernatural. it compels me. it enrages me. it astounds me. every fiber of my being screams that it cannot possibly be that stupid, that hollow, that cruel. and every time it is - and more.

i watch it in part because i think somewhere i truly, truly believe that this time it will be different. that this time i will have loved dean enough to save him. that if do good enough analysis that shows, really shows, how sad, how wrong it is, that somehow it will re-form itself. maybe not into something good. but i can imagine something... different.

instead, every time i watch i'm hit with more and more little moments, little details, little callbacks or parallels or revelations that crack me open so i always have this hole inside of me where 15.20 sits and rots the flesh around it.

but here i go wanting to unpack it again. maybe cause of the sisyphean reasons above. maybe for the same reasons i want to unpack every aspect of dean's relationship with john. maybe because they are actually inextricably linked. dean and john and 1.20 and 15.20.

i started watching supernatural on may 23rd, 2021, knowing full well dean was going to die.

so i looked at his beautiful doe eyes in s1 and thought "they are going to kill you" and ached. i looked at his private, chaotic grief in s2 and thought "they are going to kill you." i looked at his self-sacrifice and self-worth in s3 and thought "they are going to kill you." i watched him stumble on resurrected bambi legs in s4 and thought "they are going to kill you." i watched his protective defiance in s5 and thought "they are going to kill you." i saw his patience, hope, and worry in s6 and thought "they are going to kill you." i saw his exhausted, brittle husk in s7 and thought "they are going to kill you." i marveled at the mix of resignation and rawness in s8 and thought "they are going to kill you." i choked on the self-loathing in s9, thinking "they are going to kill you." in s10 i heard dean say both that he didn't want to die and that he knew he'd have to and thought "they are going to kill you." s11, beloved s11, that opens with some of the most down-to-earth moments and ends in some of the most cosmic. dean saves the world by talking and listening and explaining how to forgive and i thought "they are going to kill you." in s12, i watched him struggle as his mother unwittingly repeated the patterns of his father and struggle to bite his tongue and i thought "they are going to kill you." i watched the s13 speedrun of all his worst fears and thought "they are going to kill you." s14 again mixes the visceral and the cosmic. dean strips michael's clothes off his back. he welds himself a magic coffin. he talks about reading mommy blogs and i listened and thought "they are going to kill you." in s15 i watched him proved right about everything he'd ever said about god and wanting to be free. i watched him win. and i thought "they are going to kill you. now."

i knew it was coming all along and i thought i would be ready for it. instead, i sobbed in the car on the way to work for two weeks. i sometimes still do. you will always end up here.

i think in every supernatural circle that's worth even a moment of my time, 15.20 is considered a tragedy (or not considered at all). and so much has been said already. so i'm not going to rehash that killing a character who constantly said he wanted out of the life of violence he was forced into is a tragedy. i'm not going to belabor the twisted knife of killing someone who was so frequently suicidal. i'm not going to go on about how the last time cas was dead dean didn't feel like there was anything to live for and was fine suicidally throwing his life away on a routine hunt and the chance he could save a couple trapped ghosts. i'm not going to wax about the job application. i'm not going to unravel - at length - that they had to kill dean because he loved cas and they couldn't let him live long enough to say it. and though i'm not a chuck won truther, i would never pretend i don't see the math.

but i think one of the issues with having watched the finale so many times, is i notice all the little things. there is so much extra-episodic context that makes 15.20 a godawful, crushing, devastating mess. but i'm always torn over which kills me more because some of the intra-episode parallels and details feel so specifically, acutely cruel.

for example, why would they have dean say, "but if we don't keep living, then all that sacrifice is gonna be for nothing" and then literally kill him 10 minutes later?

why is there a scene emphasizing the mercy of a quick death compared to the pain and anguish of long-drawn out suffering...

DEAN: You see, this... This is quick. It's clean. You know, no muss, no fuss. You blink, and you're dead. SAM: But a blade this small... I'm gonna have to keep sawing and sawing to get your head off, and you'll feel it. Every muscle, tendon, every inch. It could take hours.

if we about about to watch dean bleed out for 8 minutes?

why did sam pie him??

why did they have dean say "you never took any of dad's crap" and then four minutes later send him to "heaven" just down the street from john?

speaking of, let's look at dean's face upon hearing his dad's "got a place over yonder" versus after "well, cas helped."

and that brings us to the other themes the finale. because while the intra-episode moments feel cruel and pointed, it is the way it ties off the rest of the show that makes it a tragedy.

i've said before that it's eerie how well dean's speech in faith would fit into the finale. well, let's look at some other lines that show dean never thought he deserved anything different than dying on some random hunt.

1.12 faith

Look, Sammy, what can I say, man, it's a dangerous gig. I drew the short straw.

2.04 children shouldn't play with dead things

I never should've come back, Sam. It wasn't natural. And now look what's come of it. I was dead. And I should have stayed dead. 

2.22 all hell breaks loose part 2

I'm not even supposed to be here. At least this way, something good could come out of it, you know? I--I--It's like my life could mean something.

5.17 99 problems

Look, I have no illusions, okay? I know the life that I live, I know how that’s gonna end for me. Whatever. I’m okay with that. 

6.06 you can't handle the truth

It's the gig. You're covered in blood until you're covered in your own blood. Half the time, you're about to die. Like right now.

8.14 trial and error

I'm a grunt, Sam. You're not. You've always been the brains of this operation. And you told me yourself that you see a way out. You see a light at the end of this ugly-ass tunnel. I don't. But I tell you what I do know – it's that I'm gonna die with a gun in my hand. 'Cause that's what I have waiting for me – that's all I have waiting for me. I want you to get out. I want you to have a life – become a man of Letters, whatever. You, with a wife and kids and – and – and grandkids, living till you're fat and bald and chugging Viagra – that is my perfect ending, and it's the only one that I'm gonna get.

10.07 girls girls girls

Now, the truth is... I'm past saving. I know how my story ends. It's at the edge of a blade or the barrel of a gun.

10.16 paint it black

You know, the life I live, the work I do…I pretty much just figured that that was all there was to me, you know? Tear around and jam the key in the ignition and haul ass until I ran out of gas. I guess I just thought sooner or later, I’d go out the same way that I live – pedal to the metal, and that would be it.

15.20 carry on

You knew it was always gonna end like this for me. It was supposed to end like this, right?

1.12 faith, once again

that is his attitude for so long. but notice the gap between season 10 and season 15? i'm not at all saying he full abandoned the attitude that all he was good for was dying on a hunt. but in 10.17 he also says, "there’s things, there’s…people, feelings that I-I-I want to experience differently than I have before, or maybe even for the first time." in 13.23 he's talking about retiring if he knows the world is safe. in 14.13, he says "I have a family." he says, "I'm good with who I am."

in 15.18, when he thinks he's going to lose a huge part of that family, he says "She's gonna get through that door. And she's gonna kill you, and then she's gonna kill me." and although cas did eventually end up in heaven as well, they very much did kill cas and then kill dean.

and if in the finale after dean dies, the way they showed sam grieving dean was blearily shutting off his alarm at 8 and sleepily getting out of a messy bed and sadly petting miracle, then why.... why did the episode open with dean doing the exact same things if not to show he was grieving.

it reminds me of another thing that happens in canton ohio in november: elliott ness telling dean, "Boo-hoo. Cry me a river, ya nancy. Tell me, are all hunters as soft as you in the future?" and then he continues...

this is maybe one of the smaller little connective gut punches. but there are so many of those.

like why was dean forced to kill lee by impaling him against a wooden pilar if 13 episodes later...

like why is the episode called "carry on"?

like remembering 15.10 when dean says, "Yeah, it’s just how I wanted to die – with a freakin audience."

like when you look at the supernatural wiki transcripts page, it looks like this:

like the parallels between the hunt in faith that dean almost dies on and the hunt in 15.20

like despite all the times he said he knew this was coming, the moment when dean turns away from sam and says, "Well, I did not think this would be the day."

like even if he was trying to be a little silly, we know how he described the funeral he imagined for himself in 11.23. and even in 15.20 there were so many people still alive who loved him and yet only one person is there to grieve him...

like this exchange from 1.20

JOHN: Once a vampire has your scent, it's for life. DEAN: Well. what the hell do we do now? JOHN: You gotta find the nearest funeral home, that's what.

of course john means for dean to go get dead man's blood so he can watch dean play bait while he waits with sam and tipped crossbow bolts. of course he doesn't mean a vampire will get your scent and you're dead so go pick out a coffin. he doesn't mean that; it's only that getting the colt to avenge mary is more important to him than the risk that a vampire might pick up their scent and, oh let's say, one day track them down and kill them.

like the theme of vampires being specifically sexually predatory toward dean (kate kissing him in 1.20, boris assaulting him in 6.05, starr playing with him in 10.08 - not to mention the framing of gordon in 3.07 and desmond in 8.09 drinking his blood). the way jenny stalks over him as he's pinned to the ground in 15.20 doesn't break from this pattern at all. and i hate the layering of violences. i hate that this is who kills him.

like some of dean's first words in the pilot being "It's okay, Sammy." and some of his last being, "tell me that it's okay." over. and over.

like maybe i could handle it being a tragedy if it felt like it was meant to land that way (i still wouldn't be able to, for the record)

like that he wanted rice crispy treats for his next birthday.

like that chuck, even human powerless chuck, outlived him.

like that john lived longer than him too.

and so of course we end up here. with john. i do think we must concede that dean dying on one of john's unfinished hunts - in fact on two unfinished hunts - could not be more cruel. when you can defeat god and escape and his plan for your life but not your own father...

and the thing about the first unfinished hunt with the masked vampires is that john was working it in 1986. the vampires, "target[ed] families that are living outside of town, that are isolated, kids usually between the ages of 5 and 10." the thing is in 1986, dean was 7. was that the first time john used dean as bait, i don't know. but it could have easily been is the thing.

1.20 sets up 15.20 in so many ways. the episode where vampires are introduced. where jenny (though unnamed) is introduced. the episode where you see exactly what dean meant about sam "never taking any of dad's crap." meanwhile in 1.21, when dean starts to push back against john, john says he's "not too crazy about this new tone."

in 1.20 john sets dean up to be bait while he and sam wait in the shadows. in 15.20 dean needles and distracts jenny while he waits for sam to pick up his machete. it recalls 1.20: "you know what to do." it recalls 1.02: "you thinkin what i'm thinkin." like the most common footpath worn into old stone stairs.

the last main theme i want to talk about is parentification. i know i'm not the only one who felt betrayed by sam sorrowful acceptance of dean's death. there's grief, yes. but there's something so profoundly unsettling about basically back-to-back watching dean trying to resign himself to his impending death. and in 15.18, cas' response to that being that he won't let dean die. meanwhile in 15.20, sam's response is to -

but then it clicked for me.

it's because on some deep level, beginning to some extent when sam was less than a year old, dean became in a lot of ways, his parent. and parents are supposed to die before you, right? so sam can be sad. he can grieve. but it's not a grief at the injustice of it - not grief at dean's unfinished life or his early death. sam always knew he would outlive dean.

because if this is not setting in stone the parentification that happened to dean, then why is sam telling dean "you can go now" paralleled only a few minutes later with dean jr later saying the same to sam?

and if not to swing the parentification as a cudgel against my knees, why is every speech dean makes before he thinks he's going to die focused on making sure sam's going to be okay. right up until the very end.

3.16 no rest for the wicked

Keep fighting. Take care of my wheels. Sam, remember what Dad taught you... okay? And remember what I taught you.

9.23 do you believe in miracles

Sam. Hold up. Hold up. I got to say something to you. I'm proud of us.

11.23 alpha and omega

Listen, if—when—when this works, Sam—he's gonna be a mess. So look out for him, okay? Make sure he doesn't do anything stupid.

14.12 prophet and loss

I know I wasn’t always the greatest brother to you.... I know things got dicey… you know, with dad… the way he was. And I just… I didn’t always look out for you the way that I should’ve. I mean, I had my own stuff, you know. In order to keep the peace, it probably looked like I took his side quite a bit....

15.20 carry on

I'm fading pretty... I'm fading pretty quick, so... there's a few things that I need you to hear. Come here. Let me look at you. Yeah, there he is. I'm so proud of you, Sam. You know that? I've always looked up to you. Man, when we were kids, you were so damn smar... smart. You never... You never took any of dad's crap. I never knew how you did that. And you're stronger than me. You always have been...

1.12 faith, once again and again and always

DEAN: Hey, you better take care of that car. Or, I swear, I'll haunt your ass. SAM: I don't think that's funny. DEAN: Oh, come on, it's a little funny.

i think about 27 year old dean lying in that hospital bed. and i think about 41 year old dean hanging on that beam in the barn and just thinking you know, he did it. looking at sam and being proud. cause dean knows enough about horror movies to see sam as the final girl. sam made it. dean was always gonna make sure he did. he understands it enough to know he's dying so sam doesn't have to. sam can go on and live a life and have his survivor credits montage and dean's like, yeah, this is how it's supposed to go.

dean knew it was never gonna be him.

AND THAT'S WHOLE GODDAMN REASON IT FUCKING SHOULD HAVE BEEN.

he should have gotten to outlive the god who tried to write his story and he should have gotten to outgrow always putting his life behind his brother's (and everyone else's) and he should have survived the deadly path his father forced him onto and he should have gotten to live a long and beautiful gay life in the world he loved so deeply.

and you should be able to watch goddamn supernatural without seeing him be declared dead in 1.06 and feeling the pit in your stomach and without watching 3.11 and going well that's just not funny and without watching fucking 5.07 and going well now that's the oldest he ever got.

anyway, this whole episode fucking destroys me. here's dean as the ten of swords.

and here's to us saving him. lady, he's tolstoy

[catras-breakup-song]

how do you feel about the whole "you always wanted more" line that got cut? at first i was wondering why they did that because adora didn't want more until it made me think "huh, what if prime was just running on catra's memories and didn't actually know adora?" but i'm curious as to what you think

OH MY GOD I AM SO GLAD YOU ASKED THIS. i am such a sucker for the cut STC script. back in late 2020 & early 2021 i had a twitter layout based on “that little spot on the roof that only they knew about” because S3 is my favorite:

even better, i have another old twitter fancam saved from around that time too that used that screenshot of the script in the beginning. it was by the username yoosene but is now long gone, so i reuploaded it to imgur here (the hands part, i’m going insane…)!

anyway, as for interpretations, it was absolutely to manipulate & guilt-trip adora. i recently saw someone say (i don’t remember where though, sorry) that he was torturing both of them by setting up that nasty fight against both of their wills and had planned to kill catra all along — despite saying he wouldn’t right after she rescued glimmer and was imprisoned for it, in my opinion there was an unspoken “yet” even though he did technically say that word but you know what i mean; “you will be of use to me, and then everyone from your blighted planet, including yourself, will be destroyed.”

that’s the thing about what the show was trying to convey through her stay on prime’s ship via glimmer’s desperate pleas, isn’t it? her illusion of power was only ever temporary. once she no longer had anything of value to serve, what would she be worth? how could she have genuinely believed that he wanted to save her, of all living beings, from the curse of humanity & will of consciousness? what makes one individual different to an omnipotent god compared to countless others across the universe throughout space and time? i truly believe that he was subtly mocking her when he talked of her being “exalted, raised up above the other wretched creatures of [her] home world.”

i was actually trying to find another five by five takes quote about this, because mentioning them is always an obligation for me, but surprisingly i didn't really find anything about how catra had worked her way up to prime's recognized single subordinate (only that moment of reflection afterward, which is just this entire short video), and was under the false impression with a cocky & confident attitude that her position meant something for her safety & survival; i'm mostly referring to this moment:

the horde's the horde...even in space. as long as i'm of value to horde prime, i've got a place in this world. i can work my way up here, just like i did before.

actually y’know what… i’m going to tag @horde-princess because this is starting to dive into religious meta which is like… her whole gimmick thingy. we would be blessed (pun intended) to see your take on this writing that never made it to the show, if you haven’t given it already!

now this is veering too far off from the original point after getting sidetracked. the tone of those quotes in the alternate script is (fake) pity, and horde prime was entertained by the struggles of mere mortals. to make adora a failure of what she represented would surely force her to give up she-ra to him, because what would even be the point anymore of living up to expectations if she couldn’t save catra first & foremost (that’s something that she struggled with since initially leaving the horde over three years ago due to how catra made her feel about supposedly breaking their childhood promise… but it’s a story for another post)?

i don’t doubt that your thought process is at least partially right too though, anon. prime didn’t read adora’s mind thoroughly at any point, so it’s entirely possible that he just read off catra’s intense feelings of abandonment & betrayal. that being said, if he really did see all as he claimed, maybe he was able to recreate an objectively accurate collection of events and knows what really happened and what the intentions behind certain actions were. i also wonder if catra secretly knew deep down that adora’s defection wasn’t directly about her but just couldn’t admit it until she had time to deeply reflect on it during “corridors.”

i’ll leave this messy, unorganized post with an amazingly relevant gif set made by an editor whose work on here i really enjoy:

as i said a long time ago, you just had to be there on november 19th 2020 when that excerpt was released because the hype was crazy!

[kradogsrats]

I'd Do Anything (... But I Won't Do That)

This started out kind of weird and petty but then turned into an actual thing about the relationship of Viren's character arc(s) to the Arc 2 "I'll do anything for you" theme, because that's actually pretty important for the context of how both Callum and Claudia will have to confront the same conflict.

Pictured: Do NOT take a shot every time we get a callback to this line, you will die.

Basically, the petty part is that I think evaluating Viren's Arc 1 decisions through the "I will do anything for my family" lens is... disingenuous is too strong a word, but maybe simplistic? The "Viren doesn't reveal/offer the egg to save Harrow's life because he's too preoccupied with hanging on to his own power" take has never sat right with me because the real core problem of Viren is a lot more complex than just "he's lying (to himself)," it's a whole pattern of denying his own agency in doubling down on his mistakes. He'll make one bad/selfish decision, and it becomes a cascade of subsequent actions that he sees as being unavoidable, but that aren't necessarily even informed by the same reasoning or values as the initial decision. Like everything else in Viren's dream, Kpp'Ar's take that his choices are all oriented toward power is both accurate and not necessarily as literal as it seems.

Because, like... Viren's not actually a manipulator or even much of a planner—he's a very skilled opportunist. That's why all his choices wind up being based entirely on the context of past choices, and frequently make no sense when you look at them from a "hey buddy, where exactly do you think you're going with this" angle. It also contributes to why he's so desperate for control all the time, in that he acts primarily in a reactive way rather than proactively, which is always an inherently less secure position.

Pictured: The kind of statement that definitely always leads to things going super well.

Even taking the egg in the first place is a reactive decision—not that he doesn't make a choice there, or that he doesn't choose power over the threat he believes the egg poses, but he did actually walk all the way up the Storm Spire, fight five or six Dragonguard, and get kicked down a flight of stairs with the intent of destroying it. He didn't argue with Harrow about destroying it while secretly planning to take it for himself. He only even thinks of it as a weapon because Tiadrin planted the idea in his mind—as an opportunist, the temptation to leave an avenue to power open rather than close it off is what he can't resist. He sat on Sarai's last breath for ten years waiting for a chance to weaponize it to maximum effect, he can sit (figuratively... or literally, I'm not gonna stop him) on the egg for as long as it takes for an appropriate use it to appear. Tiadrin even specifically encourages that he not "waste" it, both specifically by destroying it now, and implicitly by using it too quickly and foolishly.

Pictured: Smart mom, dumb ass.

Tiadrin's angle, of course, is that the longer Viren hangs on to the egg without actually using it, the higher the chance it can be recovered. She doesn't know that Viren will leave things in a state where the assumption is that the egg was destroyed, meaning no one will think to try recovering it, but that's not really her fault and it still pays off.

The gamble Viren makes, on the other hand, is that the opportunities the egg affords will be worth the risk of it somehow falling back into Xadian hands. If the egg returns to Xadia alive, he's back to square "his name will be vengeance" in the game of We Killed the Dragon King. So yeah, you could say Viren values keeping the egg over Harrow's life, but in doing that he's actually operating largely on the exact same values and beliefs that made him argue for destroying it in the first place. It's just that his prior choice of risking humanity's security for the sake of potentially world-altering power has backfired in the context of an immediate and direct threat to Harrow's life. Really, the entire rest of s1 and s2 are him doubling down specifically on keeping the egg from returning to Xadia while also milking the opportunities coming from that course—e.g. the egg cannot go back to Xadia, therefore Callum and Ezran cannot return to Katolis either with or without it (knowing their goal is to return it to Xadia, which it will be difficult to stop them from doing once Ezran is king), and that means someone has to take the throne. If the egg can't be recovered, their only hope is a decisive first strike against Xadia, so someone has to mobilize the Pentarchy immediately. None of them are things he planned in the sense of "well, if Harrow dies then I can get his sons out of the way and make myself king, and then conquer Xadia." It's all reactive to the situation with the egg. You could argue that he'd do the same things if the egg wasn't a factor, like it's possible he's always been kind of lying in wait to push Harrow's sons aside and seize the throne... but if that was the case, he'd really do much better to make a bid for regent like any normal evil advisor would.

Anyway, all of that does still undermine the statement that he'd do "anything" for his family (which includes Harrow), and it is ultimately because of that initial choice he made to take the opportunity of power over the certainty of securing humanity's future. It's just not as simple as, "Viren says he would do anything for his family, but he won't sacrifice his own power and ambition." In the wake of his critical failure to prioritize humanity in destroying the egg, he's making choices that do prioritize humanity (from within his worldview that Xadia is an existential threat barely held at bay)... but they're still bad choices because they're all reactive to that original bad choice. It's not that he's working at cross-purposes to what he says his goals are, it's that he genuinely thinks digging his hole deeper will somehow work out positively, or at least better than the alternative would.

Pictured: Another statement that for sure indicates you're doing totally great.

Really though, I don't think you can (or are supposed to) look at the trifecta of self-individuals-world and point to one that Viren—or really any character outside of Callum, Rayla, and Claudia—puts at the top. Part of the whole point here is that elevating one of those at the expense of the others is never going to be the right choice all of the time. Obviously always putting yourself first is shitty, but we get multiple examples of over-prioritizing one of the other two as being self-destructive and dangerous. Consistency isn't supposed to be positive, here—a core part of this arc is likely to be Callum grappling with that, and that's without even looking at what's going on with Claudia.

The other thing is that "I will do anything for my family"-Viren is actually on some level a different character than Arc 1 Viren, such that evaluating one based on the context of the other doesn't actually make sense. We don't get even a hint of the "I would do anything for my family" in the series until s4, after Viren has died and been revived. Yeah, we had it earlier in the novels, but in there it's really about Claudia and her relationship with Viren, not Viren's values or actions. Arc 1 Viren and Arc 2 Viren inform each other as characters, but most of the point is the ways they aren't the same. And while Arc 2 Viren is understandably preoccupied with the concept of sacrificing for family—given that he's been stripped of everything that was in his life except Claudia, who went to terrible lengths on his behalf—Arc 1 Viren is actually quite consistent with how he's laid out in his Tales of Xadia character sheet:

Like, check out those Liberty and Glory statements—not even close to the same ballpark as Callum's "I value those close to me more than anyone or anything" Devotion and "I'm beholden to my inner circle, not some silly kingdom" Liberty, but quite accurate as the through-line on his s1-s3 actions. There's nothing in there about family, because Arc 1 Viren isn't actually meant to be associated with "I will do anything for my family," and he's not lying to himself by not acting consistently with it in Arc 1.

Arc 2 Viren is then a kind of emotional reboot back to a particular point earlier in his life—not necessarily the point before he first did any dark magic at all, but before he did his ill-defined "anything" to save Soren, which is implied in multiple places to be the point where he started in on a spiral that had tangible and fairly rapid effects on his personality and outlook. That's further emphasized by the contents of his dream in s5—seeing him behave in a genuinely loving and joyful way with Soren is shocking, and immediately raises the question of what the fuck happened and why.

Pictured: Healthy coping mechanisms.

Part of what still distinguishes Viren's "I will do anything for my family; however dangerous, however vile" from Callum's developing "I would do anything for you" is that Viren is always deliberately addressing the "things that are so unforgivable, you will never forgive yourself" facet while Callum leaves it implicit because he doesn't really understand and/or want to acknowledge that yet (and also Rayla would probably twist his nose again, which fucking hurts). In how Viren describes it to Terry, he is using that up-front acknowledgement to then essentially abdicate any emotional responsibility for... well, anything at all. The entire "however dangerous, however vile" mantra is another way of denying his own agency, because if he'll do anything, then he doesn't actually have to go through the difficult emotional process of making those decisions and dealing with the aftermath.

Pictured: H-healthy coping mechanisms?

Terry correctly pegs this questionable excuse for philosophy as "not having feelings," and generally not the best approach, because it will do things like lead to a default state of emotional unavailability to your children—oh, wait. I think it's not unlikely that Viren's emotional distancing from what "I will do anything for my family" meant contributed a lot to the degradation of it as his core value and his ensuing Arc 1 state. A lot of what's going on in his s5 dream is that he's being confronted with the consequences of "I will do anything for my family," specifically. He's being forced through an emotional speedrun of what it has cost him and everyone around him, and what has he got to show for it? Claudia, corrupted beyond recognition, proudly repeating his own words back to him.

Pictured: Whatever the opposite of daddy issues is.

Because the whole point of Viren's "I will do anything for my family" in Arc 2 is the challenge of whether he would/will do it all again. If he holds to that value the same way he did before, he'll do whatever it takes to save Claudia—however dangerous, however vile. Most of Viren's moral and emotional stuff has been based on his self-serving resignation to having "no choice." He's so tragically trapped in a chain of spiraling consequences he can never break... except oh wait, he totally can. S5 is all about Viren recognizing the dark magic feedback loop and that he has the agency to break it, and his best and only chance to avoid doing further harm to Claudia is to not be willing to destroy himself that way again, even it it means his death will cause her terrible emotional pain.

We'll see how that works out. Because let's be real: Claudia's gonna Claudia, regardless. However it goes, there's an important narrative precedent being set for both breaking free from dark magic/Aaravos and evaluating the "I will do anything for you" impulse in a more nuanced way.

[skania]

OnK Chapter 152

Soooo as someone who reads this for Akane and for Akane only, I have to say that I'm feeling cautiously optimistic about her role in the upcoming arc.

We're entering the final arc and she has yet to get her second volume cover. If she doesn't get Volume 15 (and I'm praying she doesn't), then that should mean that whatever happens in the upcoming volumes (the final volumes!) will involve her enough to warrant saving her second cover to this late in the game.

We're entering the final arc and she just narrated the lead-up to it.

We're entering the final arc and it's happening right alongside the Second Season, which is the season that will cover most of Akane's important chapters. So if Aka wants to deliver parallels, then there's a lot of potential for Akane to be involved.

...Watch Mengo and Aka stick her on the cover of Volume 15 and call it a day 🤡 But for now, I'll keep praying that we get a Goro/Aqua cover so that Akane is free to be used in better volumes.

I don't have much to say about the chapter this time around. I think we all knew that Aka was getting ready to end the manga, so I for one was happy to see that we're entering the final arc. The sooner we're freed, the better!

It's hard to gauge how long this arc will be, but I'd bet on ~30 chapters plus an Epilogue Arc. Coincidentally, there are exactly 28 weeks left until Christmas. In the manga, they are in November right now and Kana's Graduation (the most important moment in the manga, apparently) will take place on Christmas. So I can totally see Aka wanting his fictional Christmas to happen during, well, Christmas.

If he does it, then we could be getting 3 more volumes worth of content plus 1 volume for the Epilogue. Maybe.

Or maybe he will try to rush it and end it even sooner so that whoever gets hurt gets hurt when the anime adapts Chapters 64 - 65. That would be so rushed even for his standards that it would be wild, but anything is possible when it comes to bad writing lmao

Leaving that aside, look at my girl.

I love her. I love her so much. She has got quite a few reasons to be making this face, IMO.

Ruby was able to find a peaceful way to have her revenge and is thus ready to start healing, and the answer she found is healing those around her, too. Like Gotanda and Kaburagi.

Ai's heart was presumably portrayed in an accurate fashion, which is sure to pull at her hearstrings.

And considering that Aqua was the one who edited the movie, I think it says something about his current disposition that he respected Ruby's take and left the movie as it is, so that may be giving Akane another reason to smile.

Speaking about Gotanda and Kaburagi, I feel like their conversation foreshadows a lot of what this final arc will be dealing with.

Making amends, overcoming regrets and moving towards the future...

... people lying to themselves and "bottling themselves up"...

yet still holding out onto hope, deep down, of being able to fulfill the dreams that they have been denying themselves of all along.

This comment in particularly reminded me so much of Aqua lol

Which takes me to: Aka's writing is so clumsy that his star changing colors every other chapter comes across as flip-flopping 😂

Back when his stars briefly became white only to turn black again, it served a purpose. It showed that while Ruby's words pacified the "Goro" side of him, he hadn't fully healed yet. If Aqua having his white star again is meant to signify that Kana's words managed to pacify the "Aqua" side of him, then... why in the world didn't we see his eyes go white last chapter? 🤡 If Kana is the reason why Aqua seems to have hopes for the future now, why not show it?

For my own sanity, I have to believe something happened in the time-skip. Maybe editing the movie was actually cathartic or something, who knows. I'm not even going to theorize anything about this, because the writing is giving me whiplash lmao so I'm just going to take a moment to point out that while Mengo took the time to give Aqua the haircut he is supposed to have here as per the prologue, she left out the piercing.

And I find that kind of funny, honestly, that this is where Aka seemingly draws the line. With all the stuff that Aka off-panels, Aqua getting a random piercing off-panel wouldn't have been shocking at all 😂

Another thing I found funny:

How many times does Aka need to repeat the same thing? Does he think our attention span is that short? 😭 Not to mention these words feel empty right now because he just went on a data with Kana with zero issue. Apparently, for Aka keeping his distance is only a thing if it involves making sure Aqua interacts with Akane as little as possible lmao

Oh, right!

How could I forget the big twist!

Wake me up when Kamiki interviews Akane 😂

[cassiebones]

Character Analysis: Jennifer Kale

Jen Kale has such a tragic history, just like the rest of them.

I, at first, had thought that she was pretty young compared to the rest of them, but she was already an established midwife by the 1850's (when the Obstetrics thing came about; yes, I googled) and so I believe she probably already had about a century's worth of experience before that. She probably watched the babies she helped birth grow up before her eyes. She watched their whole lives. I wonder how many of them knew who she was and used her as their own midwife.

I had a thought that she might have been Agatha's midwife, which explains how she was the only one who knew about Agatha's son, but she probably would have remembered who Rio is (though it may have been by design that nobody knew about Rio). I'm not sure, but it would explain the history between her and Agatha.

Regardless, I think she and Agatha have some kind of contentious past. Maybe Agatha was trying to build another coven, but Jen caught wind of what happened to previous covens of Agatha and dipped out.

Then she started to hear more rumors about Agatha's escapades and believed them. Because Agatha was known to be a witch-killer. So she wouldn't put it past this witch to trade her own child for a book of dark magic.

And obviously part of her trust issues come from that invitation to impart her knowledge on a society of male obstetrics who she thought recognized her intelligence and respected her. It's probably really hard to trust after going through something like that; it's probably equally as easy to believe all the bad things you hear about somebody universally acknowledged to be a bad person in general. And then to actually witness Agatha's callousness for herself?

But, at the same time, Agatha praised her knowledge during the first trial. She acknowledged that Jen is a smart person. That, while her power was taken from her, Jen still knows a lot of shit. And she uses that intelligence to her advantage (and, unfortunately, to her detriment at times.) Jen is also the person that Agatha looks to when Teen gets hurt, knowing that if anybody could save him, it would be Jen. She trusts Jen in that moment, and it makes Jen trust in herself, despite her bindings.

I think we're all in agreement that all the witches are some flavor of queer, right? I actually just googled and Jen is canonically bisexual, so a win for the lgbtq+! I feel like maybe she had romantic interest in Agatha in the past, but realized that Agatha was so emotionally unavailable as to be a non-starter.

And then there's the killing witches thing.

Like Agatha, I think Jen tries to come off as more confident than she really is. She acts a bit catty to combat the self-doubt, lashes out at those around her. She is definitely suspicious of everybody when she first meets them, though she tries to act "nice" or polite.

I hope that she makes it through the road (despite last night's episode ending) and that she is able to unbind herself. And I hope the man that bound her is buried somewhere awful and that he's being tortured a lot.

Speaking of the man who bound her; do you think he might have had some kind of infatuation or did he hear about this incredibly talented black woman and immediately go "that's a witch; gotta stop her" and then found out she was a midwife (somebody who ferries new lives into this world and does a Very Important Job) and was like, we cannot allow this to continue?

Remember that Jennifer was likely living in the North during slavery. She was working a job that was well-respected and was invited to Boston, where she still would have been free and probably well-respected in her career. She also came from a long line of root workers, which are essentially healers.

And god forbid a woman have interests and talents. Especially in those times.

Jennifer came off as a bully in last night's episode, but I don't believe that to be the whole story. Maybe she was influenced by something. Maybe it was all Agatha's horrifying hallucination. Maybe Jen was just acting out of fear.

Regardless, she is just as multi-faceted and three-dimensional as the rest of them and I have trust that Jac will show that in future episodes.

Only four more to go!

[mhaaddiction19]

My idea for the league of villains surviving, and living the best life fanfiction:

Btw this fanfiction is gonna tie into canon Mha

If you saw my last post, you would know that I want the little mysterious boy from chapter 425

This one

Is gonna be the one to rewind time with his quirk so society would actually change and the league of villains live their life the way they want

I will be naming him Yuri Shio since his name was not revealed

Summary of the fan fiction:

Seven year old Yuri Shio escapes from his abusive household and was rescued after the second war is over. Eight years later, Yuri grew up learning about the greatest hero in the world deku and how he saved the world. The world that they live in seems perfect but something in the back of Yuri’s mind seem to believe it’s not. I mean, can you blame him? There is still a hero ranking and children without any quirks are still being discriminated. Nothing has truly changed that much. Yuri has always been afraid of using his quirk. It can be very dangerous and yes, of course he wanted to become a hero, but his quirk didn’t allow it so he was in the business course of UA high school. But he wants to make a change in the world that would actually matter. What about those Desperate, broken villains that never got a chance at living a good life? What about the famous league of villains? He starts questioning everything. Yuri begin working on his research project (more like an experiment project)about if a person can go back in time what would they change about themselves. Yuri slowly starts meeting the people that he always looked up to. He talks to Deku, Ockako, Aziawa, spinner, Dabi, and Mr. Compress and they all interviewed for his project. After meeting all these people, he realize maybe taking a chance at his quirk is worth it. What if one person in the league of villains got saved? What if there was another hero organization that can actually help the heroes and the citizens? What if hero society changes completely?