#but that like wasn't even my first choice

[muffinpink02]

Suit (I beg someone give me a title)

Smut 18 word count 1010

Thank you for the request anon! ❤️

Your bare knees press into the hotel carpet. You're completely naked and on show for her. 

Just how she wanted you. 

She's also naked, aside from her suit jacket. 

Her long legs are spread as she sits comfortably in the big black leather seat of the hotel room. A glass of brown liquor sits in her large hand, swirling the cube of ice. She looks powerful, regal even. God, she is so arrogant. But it only makes your cunt throb. 

Your eyes land at her already wet sex. Your tongue darts out to wet your lips. You can't help but feel a sense of your own power in yourself for making her aroused just by your presence, though she holds that same power as you feel the first bit of your essence start to stick to your thighs.

A cocky smile pulls at her painted lips. Hazel eyes greedily roam your body, taking in every curve of you. She looks like she wants to devour you, it brings a chill to your already exposed body. 

“Come. Let's put that mouth to work.” She hummed. 

You move instantly. Your knees shuffle against the carpet. You didn't care if you looked eager, you wanted her. 

You groan softly as long fingers dip into your hair, pulling your head back to meet her hazel orbs.

“I’ve wanted your tongue all night. Make it worth my time.” She purred before taking a sip of her drink and placing it on the table beside her.

You shiver at her words. Your own mouth starts to water as you smell her arousal pooling between her legs. You take another glance at her before she's pushing your head between her legs and she's in your mouth.

“Finally.” She hissed as her head fell back against the leather.

God, she tasted good. You hungrily lapped at her soaking wet folds, you didn’t have time to be slow. You had wanted her the moment you saw her in her suit. You fucking loved Alexia in a suit. 

The blondes grip tightened in your hair as you took her clit between your soft lips.

“Si, just like that.” She moaned as her hips started to thrust into your face.

You looked up to see what could only be described as heaven. Alexia's tight stomach muscles flexed with each thrust of her hips, her abs moving in sync with her deep breathing. You suckled her against your tongue, wanting to please her as best as you could.

You groaned as she pushed herself deeper into your mouth, her essences smearing against your tongue as you took her in. You could feel yourself getting wetter by the second as your ears were filled by her loud pornagraphic moans bouncing off the walls in the room. She clearly didn't care if she was heard, and neither did you, watching as she got lost by your touch.

You closed your eyes as Alexia started to fuck your mouth. Both of her hands laced into your hair, guiding you into her as she messily dripped into your mouth. 

Strong thick thighs began to shake as the blonde was being pushed closer to her climax. Your tongue slurped and sucked at her velvet folds, drinking down every drop that washed over your taste buds. 

“Bebé, keep doing that. Don’t stop until I come.” She breathed out, her eyes screwed shut as she painfully pulled at your roots.

You didn't have much choice, Alexia’s legs locked around your head as she used your mouth to get herself off. 

You couldn't breathe, but oxygen could wait. Besides, you wouldn't mind going out this way, with Alexia's thick thighs wrapped around your face. 

Though Alexia wasn't keen on that, she granted you some air as she moved one leg on your back allowing you to breathe again. 

“Just like that.” She husked as she started to shudder against your lips.

Alexia groaned loudly as she came into your mouth. Her own mouth hung open as she flexed her hips, keeping you as close to her as she physically could. Loving the way her clit twitched against your tongue.

You cleaned her up, making sure to swallow every sticky drop that clung to her lips. 

She breathed out a deep sigh. Smiling down at you between her still shaky legs. The same hands in your hair moved down to cup your chin. She looked at you with such love all while smearing her own essence that clung to your bottom lip.

“Your face is very messy, amor. Let me clean you up.” Her raspy voice whispered. 

Alexia pulled you into her lap, her warm thighs sat against your own. You chuckled as you gripped at her suit collar, she was such a show off, but you adored it. She was only like this when you two were alone. It was like a secret side of her that you only got to see.

Her large hands came back to your face, gently cupping your cheeks as she locked her lips with yours, humming as she tasted herself on your tongue. You got lost in her kisses like you always did, her slow but firm movements making you forget every thought you had in your head. Her tongue casting some sick spell on you.

Your hips started to move against her. You didn't even care that your cunt was grinding against her suit jacket, making it messy with your juices, wanting the friction that you so desperately needed. Alexia smiled against your lips when she felt the small movements. 

“Do you want something, amor?” She whispered against your lips. 

You nodded, your hips picking up pace on nothing. Your clit was screaming to be touched.

“Please, Ale. I need you- Fuck!” You cried out as two thick fingers pushed into your entrance, finding space against your tight muscles.

Alexia looked down, watching the way your essence darkened the fabric of her jacket. 

“You can explain that to the dry cleaners.” She teased before she started to fuck you at un unforgiving pace. 

[felassan]

David Gaider on Kieran, under a cut for length:

"CHARACTERS - DAY TWO: Kieran (Technically this is an addendum to yesterday, but I make the rules here so nyah!) Heading into DAI, I had a bite-sized problem on my hands. I knew Morrigan would feature. I also knew we were importing previous choices. So now I had to contend with: the Old God Baby. Here's the thing about honouring previous game choices, from a design perspective: it's a sucker's game. What many fans picture, when you mention it, is divergent *plot* -- the story changes path based on those major choices. How exciting! But you will never be able to deliver divergent plot. You can deliver flavour differences (usually in the form of divergent dialogue), character swaps (character X appears instead of Y), and extra content (such as a side quest) -- but plot branching, particularly the critical path? It's a question of resources, and there's never enough to go around. "Here Lies the Abyss" in DAI was about as good as it gets, and even that was a far cry from how I originally pictured it (hello last-minute insert of Stroud when a DAO Warden import got cut). The Old God Baby was one of the main choices from DAO -- Morrigan has a baby? With the Archdemon's soul?! Most DAO players who flagged that choice surely expected *monumental* consequences. World-shaking consequences! And we talked about it. We did. There were, like, three different designs of the DAI ending where OGB Kieran could cause complete divergence: new path, cutscenes, the whole nine yards. But it wasn't going to happen. It was a decision from *two games ago* that only a small minority (hello telemetry) would even choose. To the rest, they probably neither knew about it nor cared... so how many resources could you invest? To do what? Set up an even bigger divergence for the NEXT game? The other writers acknowledged my anxiety with a grim nod every time it came up, but they had no solutions. Finally, I realized there WAS a solution, and that was changing how I thought about the choice: don't make it about Kieran. The players don't know him, never have. Make it about Morrigan. Thus began a feverish three days where I wrote probably the most complicated scene of my career: Morrigan's reckoning with Flemeth in DAI and the fallout after. Three different versions (OGB Kieran, non-OGB Kieran, and no Kieran), each with branching for other choices (like the Well of Sorrows). I did it all at once. There was no other way to wrap my head around the complexity of it. It was also a tough sell to the team, considering the amount of cinematics work, but they agreed we had to do *something*. And still it felt... underwhelming, insofar as divergence goes. But it was also good. I remember when I first spoke with Claudia, about how this was Morrigan's story. This was about how motherhood had changed her, how she'd grown up. Claudia got a bit teary-eyed. It was a journey she was familiar with, she said. Her first son, Odin, had been born in 2005 not long after DAO came out. And, man, she killed with that performance! Kate, too, but I'll get to her later. Claudia dug down, and that scene where Morrigan tells Flemeth she'll never be the mother Flemeth was to her? That came from someplace very raw. It was devastating to witness in the booth. There were tears all around. Not long after, Claudia called and asked if maybe - just maybe - Odin could play Kieran? He was a bit young (not yet 5, then), but it felt... right? We agreed. Claudia was in the booth, gently coaching him through his lines, and I think that was the first moment I felt I'd done the right thing."

[source thread]

User: "Do you find it an odd choice that Kieran hasn’t been mentioned at all in Veilguard?" David Gaider: "If there’s less reactivity in DATV, I’m unsurprised. Continuing choice from up to 3 games earlier is… unsupportable. Yet DA established the expectation they would so… damned if you do, damned if you don’t?" [source]

User: "EA is one of the biggest game companies ever. I don't think more complex diverging plots are impossible." David Gaider: "Well, if only more writing was all it took. Sadly, it's also cinematics. Art time for all those reappearing characters you probably want to look *just* right. And let's not forget we have to test all those permutations! So I don't disagree with you in spirit, but I don't think it's the answer here." [source]

User: "is there a possibility of future kieran appearances in a book or something similar outside of the games?" David Gaider: "I'd have no way of knowing that." [source]

User: "I’m actually shocked so little people chose the dark ritual. That was basically the main reason Flemeth sent Morrigan with the wardens, no?" David Gaider: "The impression you get of what "most" players do - in almost any game, not just DA - is very different if you're online a lot. Consider here that it's not just the % of DAO players who chose the Dark Ritual, it's the % of DAI players WHO PLAYED DAO and cared to import that choice 5 years later." [source]

User: "Is there anything you wish you had done differently, in hindsight?" David Gaider: "Probably just to not ever do importing choices between games in the first place." [source]

User: "Kieran only existed in my DAI state b/c Morrigan as a mother really appealed to me. I wasn't expecting to be devastated by those scenes 😭 I guess when we complain about lack of consequences from prev choices in DAV we must also ask how MUCH are we willing to pay for those branches to exist?" David Gaider: "That's indeed it. Content directed towards reactivity would have to come from somewhere else. So essentially a shorter game overall for the sake of those hardcore fans who'd import - who would, I imagine, REALLY enjoy that... but it's a tough cost/benefit analysis to make." [source]

User: "mr gaider im gonna keep it real with you if i had to choose between my hof and hawke i would've simply passed away" David Gaider: "Right? That was the ENTIRE idea! I was very excited, and for a while it seemed possible." [source]

User: "This has been a very interesting read but I have to ask why they decided to use Stroud instead of the HoF" David Gaider: "1) Complexity of providing means for a player to build a Warden (which they did in DATV for the Inquisitor). Also spoiled the surprise. 2) We’d have needed to give the Warden a voice. Add these to the cost and it was deemed not worth it." [source]

User: "Genuine question, not a critique - but what made the OGB decision one that couldn't be handwaved as canon no matter what was or wasn't chosen? Leliana and Flemeth being around no matter what come to mind. Was OGB simultaneously too major and too minor of a decision?" David Gaider: "Flemeth and Leliana being alive were easily explainable, and we knew we were doing it even back then. Circumventing the Dark Ritual… that would be too cheap. We did talk about it, but it just felt too dishonest. Too high a price for what we’d get in return." [source]

David Gaider: "If I’d known the Well of Sorrows would only see reactivity in the confrontation with Flemeth, I’d probably have made a much bigger deal of it." [source]

David Gaider: "We could maybe have gotten past the need to "reconstruct" the Warden, much like the Inquisitor was reconstructed in DATV (so I understand), but the need to give the Warden a voice was the final nail. Too potentially disappointing for the very people who'd be excited about it, aside from the cost." [source]

[authorindistress]

Forever wishing there would have been a seasonal gimmick where someone from Merlin’s past comes to Camelot and spills some tea.

Like, just some rando comes by and drops the wildest lore that not even the audience knows to the knights super casually and leaves.

I.e.

Will (if he had lived): I’m glad Merlin found a place here. I thought for sure he’d end up banished again (: Arthur: He got banished from Ealdor? Will: What? No. Camelot wasn't Hunith’s first choice. Merlin just kept pissing people off in other kingdoms so she had to send him to Gaius because nobody else had a chance of controlling him. Arthur: Are you-? Actually, no. This tracks.

Or

Random Girl: Hi, I'm looking for my brother? He lives in the palace, I think. Elyan: And who might your brother be? Random Girl: Oh, sorry. I'm Ganieda! Merlin's sister. Gwaine: No fucking way

I'm just saying, there is no way Merlin stayed out of trouble his entire childhood. Consider:

Some Guy: Is Merlin here? Leon: You're not related to him, are you? Some Guy: No, I cannot say I am. Years ago we had a brief tryst while on an adventure together before parting ways. I heard he was in Camelot so I thought- Arthur: He's not here. Some Guy: Oh, but- Arthur: He actually died yesterday and, completely unrelated, I'm going to have to banish you. Goodbye. Don't return.

[ambrosia-vinca]

There's a kind of defensive attitude towards criticism re:Lucanis' romance in many corners of the fandom that I partially understand because Veilguard gets a lot of shit thrown at it, and if you enjoy something you naturally want to defend it. But this type of attitude also rubs me the wrong way when people who loved the way his romance played out say that anyone criticizing it must just not understand slow burns/not like slow burn as a genre/not understand Lucanis' character and his trauma properly/must have been expecting explicit sex scenes and a Zevran 2.0.

Maybe some people criticizing his romance don't like slow burns, or were wrongly expecting him to be a sex god, or ignore his trauma. I've seen a few. But that's not all the criticism there is.

Personally, I love slow burns, it's my favorite genre both to read and write (I'm the type of fic writer to think up 200k words enemies to lovers longfics where they've barely kissed after 100k words). I'm also the type of ace person who's not into extremely explicit sex scenes or super kinky romances (especially with male dom stuff, which I personally dislike). And lastly, I'm the type who picks the angstiest possible romance choice.

All this to say that Lucanis and his romance were theoretically made in a lab for me. Slow burn because the character doesn't trust easily and is traumatized by his past experiences and has many things he must resolve, excruciatingly slow to open up? Unexpectedly very sweet, wet, sad man with puppy eyes? Romance scenes that are caring and romantic instead of outright steamy? Perfect, right up my alley! I keep romancing Fenris in DA2 exactly for that reason because I love him dearly, and he breaks up with Hawke for 3 whole years! Still my favorite!

But the whole point of a slow burn are the steps. It's a slow burn, which means little step by little step, the relationship slowly builds to a conclusion, from tentative acquaintances who don't trust each other, to slooowly evolve into something more, and it's precisely these crumbs that make the trope enjoyable.

To me, Lucanis' romance doesn't feel like it does little steps, it feels like it skips steps. I can see the main story beats of a good slow burn, but not the crumbs that make a slow burn. I don't want him and Rook to jump each other after 2 scenes, I want to see more of the fumbling, the hesitation, the dancing around each other. No, dragon age isn't a romance game, I'm aware, but if romance is an option, and it is written to fit a specific trope, I would like it done properly. They've done slowburns and angsty before, and they were good (even Solas', and his romance is super short). I want the evolution of the relationship shown to me, not told in broad strokes and big steps, and I don't want to have to write half the romance in my head or rely on ao3.

We get nothing between the coffee date and the almost kiss, absolutely no reaction of any kind to the flirting, not even a blink. If Lucanis and Rook were capable of having an entire conversation about coffee and kisses metaphors when they barely knew each other, then I think they can flirt a bit more in the following conversations when you pick the romantic option, dance around each other, have Lucanis fumble a little more like he does with Neve when he actually registers Rook is sincerely into him. Even just a sign that he heard Rook when they pick the romantic option in the following conversations, because as it is he immediately resumes whatever he was saying. And if his lack of reaction is because he's suddenly afraid and thinks it's a bad idea, I would like it shown on his face, or as an actual noticeable pause/hesitation. It didn't look like he thought it was a bad idea at Café Pietra, unless he just thought Rook was flirting just to flirt and wasn't serious, but again, none of that is hinted at in any way.

Then there's the almost kiss that follows and is the first actually romantic moment we get after the coffee date, and suddenly Lucanis is all smooth and confident about flirting again. With nothing in between ever since *Illario voice* he got all romantic about roasts. Was he reluctant before and that's why he didn't react to Rook's flirting/caring concern? We have no idea, because while he warns Rook it's a bad idea to be attracted to him, he doesn't seem scared, more amused at their daredevil tendencies. The first time in his entire romance we get a clear indication he's afraid and won't open up for a long time is at the end of this specific scene, when he pulls away, and the way it happens is like Lucanis himself wasn't expecting his fear to overcome him. He wants, he lets himself be pulled forward, and then he suddenly gets drowned by overwhelming terror, and he pulls away.

The beginning of the romance (the date + almost kiss) reads to me as if Lucanis was trying to forget the Ossuary, letting himself flirt and feel attraction and just simply live again as if nothing happened, believing if he didn't think about his trauma and forcefully moved forward then it would stay buried, and then the Ossuary unexpectedly caught up to him, because you don't just bury things like that, it always comes back up at some point if you make no effort to actually process what happened.

And then there's nothing again for a long while. I can imagine Rook leaving space for Lucanis because they're considerate of his feelings and they can see something is deeply wrong, but still, something big and awkward happened between them! Not even one conversation where they try to gently broach the subject and Lucanis immediately clams up? What about some mentions of how awkward things suddenly are between the two? Even through party banter? We got plenty about Hawke and Fenris' situationship in DA2 after Fenris pulls away. The other companions comment on their breakup and how it's painfully obvious they're in love still, no matter what happened, and there are a few banters between Hawke and Fenris themselves. Surely things are a little tense and awkward between Rook and Lucanis as well at that point, and their friends would notice? They don't spend as much time together as they used to, Lucanis doesn't talk directly to Rook much anymore unless he has to, can't quite look them in the eye, doesn't want to stay alone in a room with them. He is still protective of them because he obviously cares very much, but can't bring himself to have an honest talk about his feelings and fears because he's still completely locked in his mind prison and would rather deal with his problems by stabbing his enemies.

Rook being lost because they haven't been inside his head yet and they're not sure if it's because of what Lucanis has been through, or if they did something wrong to get them rejected, and they're stuck because Lucanis completely refuses to open up. There are so many little things that could have been implemented to actually serve as the little steps for the slow burn. You're telling me even Emmrich or Neve, perceptive as they are, wouldn't have noticed their two friends suddenly being awkward and sad and not try to talk to Rook about it at the very least?

And then there's the mind prison where Rook gets all Lucanis' fears and insecurities explicitly told to them. Immediately followed by the scene where you lock in the relationship as he makes them dessert.

Were they in a relationship?? When did they get together? Do they get together right there in the kitchen by the sheer power of cake (ok, relatable)? You don't know! They almost kiss, things are theoretically painfully awkward between them for a while, Rook discovers the substance of his trauma, and poof. They're a couple. Yes, I know that Lucanis' love language is acts of service, but did they communicate at all at any point about what's going on between them? Surely even if Rook helping him out of his head puts him on the road to eventual recovery, it didn't suddenly erase all of Lucanis' trauma and fears and doubts.

I liked Rook calling out the subtext of what Lucanis says in that scene (“it's nothing, or not enough”/”it is, and you are”), I did think it was sweet and perceptive of them. But still, we go from attraction to pulling away to suddenly committing to a relationship with never actually discussing exactly what goes on between them. Never outright deciding they want to try something serious. There wouldn't have been much actual flirting or sincere conversations between them after the almost-kiss, for obvious reasons, so how does Lucanis know Rook hasn't moved on/isn't angry at him after all this time, considering how they didn't communicate at all afterwards and he's not exactly the best at feelings and self-confidence? He just talks as if it's a given they're attracted to him still, and only worries about not being good enough for them. I wanted crumbs of reassurance from Rook, more than what we got, because Lucanis' probable guilt is never actually tackled in any way – he had perfectly valid reasons to pull away, of course, but considering how much he blames himself for anything and everything, I'm pretty sure he would also blame himself for hurting Rook's feelings, even if they're understanding and not actually angry with him at all.

Idk. I have a lot of thoughts, especially about the middle of his romance. The last big scene we get is one of my favorites through all dragon age games, it was so sweet, but I still felt like the entire middle part of the romance lacked a lot of slow burn crumbs, and I was still hungry when I got to the end.

[meanbossart]

im so curious-- how well does DUDrow get on with the other companions? I've only seen your art and going off that I feel like: he gets along with Shadowheart, Gale I think he borderline cant stand, and Wyll/Lae'zel/Karlach I have no idea how he'd feel about them but id love to know!

So, funfact, because I was not familiar with these kinds of games at the time I played BG3, I practically stuck with the same exact party the entire playthrough. I distinctly remember swapping Wyll in for Astarion once at the end of act 2 because I thought he NEEDED to be there to find Mizora, and I replaced Gale with Karlach when I went to kill Gortash. Otherwise... It was pretty much always just DU drow, Shadowheart, Astarion and Gale. I did this because they were the characters I liked most, so I wanted to see all they had to offer.

Anyways, I mention this because it reflects how DU drow related to everyone - which is to say that he didn't. He picked his favorites (two because he liked them, one because he has fireball) and didn't get particularly close to anyone else.

BUT, there were definitely notable dynamics!

Lae'zel: She's dead. He killed her night 3 or something. Before that he thought her annoyingly demanding and over the top. I don't think DU drow even remembers her by the end of the game.

Gale: Just to add to your original observation, Gale and DU drow have a little bit of history. Gale tries, for about half of the campaign, to pursue him romantically. DU drow keeps turning him down and is either misinterpreted or ignored, and by the time Gale does give up on him their relationship has completely soured to the point where they are constantly shooting daggers at each other. (this reflects a romance bug I got in my first run, except I didn't realize it was a bug. Either way I think its more interesting storytelling than the intended experience.)

Wyll: DU drow was profoundly frustrated by Wyll every step of the way. He found him to be incredibly naive and a bit delusional in his pursuit for heroism, and could never relate to Wyll's perspective or choices - the few he made for himself, at least. They definitely had the least in common and DU drow avoided interacting with him most of the time.

Halsin: He didn't care for Halsin much. He was vaguely helpful but by the time they got to the shadow-cursed lands DU drow had the impression he'd only been dragged here to help him clear his conscience, which he didn't appreciate. Also, he couldn't bear to have someone in camp be taller than himself. Halsin was left behind in Act 2.

Jaheira: DU drow fucking loves Jaheira. They bickered and borderline insulted each other and had a great time doing it. He can respect anyone who will call him a monster, threaten to murder him in his sleep, and make light fun at him the next day. It helps that she's hot, also.

Minsc: Weird hamster man. Ocasionally rendered him speechless. Puzzling human being.

Karlach: He didn't get Karlach, but he was often amused by her and curious enough to want to hear what she had to say. There was a similar issue here as Wyll's where he just couldn't relate to her enough to have much to discuss, but Karlach at least had an edge to her that made her far better company. They got along pretty well when the topic wasn't serious, but when it came to the problems she actually faced their perspectives shifted significantly. DU drow thought everything could be fixed, that accepting her own demise was a cowardly thing to do - and as they approached the end, and she asked him if he would stay with her when she died, he thought she was weak. I don't know if he ever discusses it with anyone, but he feels guilty about her death to this day and sees it as personal failure.

[eregyrn-falls]

^^^^^^ !!!!!

There's so much I'd like to add but it would be carrying coals to Newcastle. Great post! (And a lot of great tag-rants in the notes, too.)

I did want to add one thought to this set of tags from @achromaticegoist, about the punch in particular.

It took me a long while to realize it, but not only is the punch reflective of a whole lot of things about Ford's state of mind on his arrival back through the portral... but, it also serves as some really interesting closure (and I'm not even sure the writers realized it).

In the episode, it's told out of order, so we see the punch FIRST. But later in the ep, when we see the fight that led to Ford going through the portal in the first place, what happens is that he and scan are scuffling, and there's that moment when Ford pushes Stan off with his foot and inadvertantly presses Stan against the glowing (apparently red-hot) symbol on the side of the control panel.

Stan screams in pain, of course. And immediately, Ford is suddenly worried, and contrite. He says, "Stanley! Oh my gosh! I'm so sorry! Are you alr-"

And Stan punches him in the face.

That punch is what sends Ford stumbling out into the portal room and falling against the activation lever; and landing inside the danger zone. Ford does get up, but before he gets a chance to say anything else, Stan shoves the journal into his chest, Ford begins to float, and the disaster unfolds from there.

We don't spend enough time thinking that, basically, from Ford's point of view (if he replayed those last moments over and over in his head, as he probably did), the last things that Stan did to him was: punch him in the face, and then shoving him into the portal. The latter was accidental (though disastrous); but the first kind of wasn't. Ford stopped fighting, switching to concern and apology. While Stan lashing out due to the pain is understandable, Stan's punch is what prevents the fight from being over.

Ford coming out of the portal 30 years later and immediately punching Stan in the face kind of creates a book-end with that earlier punch from Stan, doesn't it? Ford getting to hit back the way he didn't (wouldn't?) 30 years ago. (He stands up, but he just stands there angrily staring at and listening to Stan as he approaches. He doesn't try to leap at Stan again or try to wrestle him for the book, etc. Was Ford, effectively, done fighting the moment Stan got seriously hurt?)

As I said, I'm not sure the writers were thinking about that consciously. I don't remember hearing them comment about it (i.e. that Ford's punch was a mirror of the punch that Stan gave him 30 years prior). But I do like to look at what's written and think about it in terms of, these scenes are deliberately written, the way it goes and the details included are chosen, often at the end of a long process of collaboration. I think that what's chosen for the final version is always very interesting.

And I just don't often see people discuss that moment where Ford stops fighting, and immediately becomes worried and apologetic. Not least because, like... up to that point in the series, we haven't seen Stan be apologetic very often. A few times, yes! And it's always notable when he does it. It clashes with the exterior he presents to the world; the man for whom saying "Please" gives him physical pain, etc. Some of which is meant for laughs, too! And some of which is just the product of being hardened by experience and so on.

It tells us something, I think, that Stan truly getting hurt, and screaming in pain, is enough to end Ford's desire to fight. That even after 10+ years of estrangement, he's that ready to be concerned for Stan; and that he's that ready with an apology. Later reads of Ford (post-portal) will portray him as the man who won't say "thank you", and I have other thoughts and feelings about that. But getting back to this, it's the show's choice to have Ford stop their fight and make a slight turn towards a sort of reconciliation. When they could have easily just had him and Stan keep fighting and struggling and the portal turn on because of that. It's such an interesting writing decision; and I just don't hear people dig into what it means for the characters very often.

What's your stance on Ford as a person? Honestly, I believe that for thr majority of canon he is a bad person. But I believe he grew. Still not great though XD

(Love him anyways obvs)

I disagree entirely! I think he's equally as good a person as any of the other main cast.*

*Except Mabel, who, as we all know, is always right about everything.**

(**This is a lighthearted joke. For the love of god, I don't want Mabel discourse in my inbox.)

His biggest sins in the show:

After telling his brother that he was thinking about changing their shared life plans, and then discovering that his brother had gone to the high school that night for no good reason and gone to the science fair for no good reason and messed around near Ford's science project for no good reason and broke it and didn't tell Ford about it... Ford believed Stan did it intentionally and held a grudge for it. You know what, it WOULD be pretty damn hard to believe it was an accident.

Hilariously ill-equipped to cope with Fiddleford's mental health. A guy who responds to "I have anxiety" with "have you tried yoga, it helps me" isn't a bad person, he's clueless. "Character cheerfully enacts a bad idea while a loved one in the background goes NO PLEASE DON'T DO THAT" describes half the episodes of Gravity Falls.

Was successfully manipulated by a professional manipulator into believing his best friend wished him ill. Man, what a terrible person Ford is for being manipulated by a manipulator and saying cruel things to somebody he'd been genuinely convinced was trying to harm him.

??? Didn't say thanks to a guy he was still mad at after the guy fixed a problem he himself had caused. This is a solitary example of stubborn bad etiquette, jesus christ. There's half a dozen different reasons why it makes perfect sense Ford wasn't in the right mindset to feel grateful, this is not something worth indicting his entire character over.

He had high ambitions, which everyone seems to lambast him for, but high ambitions that wouldn't have required doing anybody harm! (Until the professional manipulator started manipulating him into harming the people around him, but we are going to demonstrate some reading comprehension and not blame Ford's underlying morality as a person for things he never would've done if not for Bill's bullying, con artistry, and outright lies.) Like, what is it that he wanted to do with his life? Use his talents to get rich and famous? Shit, that's exactly what Stan wanted to do with his life. It's what Dipper fantasizes about doing with his life. Even Mabel, who thinks about her long-term future the least, dreams big with her art & performances and is already making big money off cheap-ass commissions. What terrible people they all are, for—let me check my notes here—uhhh... unrealistically fantasizing about achieving success in life by doing the things they're good at.

When their dad accuses Stan of lying as a child, Ford puts his entire summer on the line to defend Stan even though he knows Stan is a habitual liar and has no reason to believe Stan is telling the truth this time.

When his new college roommate he barely even knows gets laughed at for proposing an outlandish scientific theory, his first emotion is outrage at this injustice and he drops everything to convince his already-despondent roommate that he was right and help him prove it beyond a shadow of a doubt.

When he moves to a new town, he tries again and again to befriend his new neighbors, and fails not because he's rude or a jerk, but because he's awkward as hell, tells terrible jokes, and sucks at identifying phoenixes.

When Fiddleford gets hurt around him, he cares about it, feels guilty about putting him in that position, doesn't want it to happen again, and tries his best to help even though he's bad at helping.

When he gets kidnapped by a weird holiday folklore creature, he concludes without even thinking about it that he's now in charge of protecting and rescuing the kidnapped kids. Yeah, then he immediately starts hollering at the folklore creature for trying to impose his religious beliefs on Ford and the kids—but like, Ford was right tho, he just had bad timing.

When he discovers that the Northwest family committed atrocities against their poorer neighbors a century ago, his first instinct is to march up to their house, find the first Northwest he can locate, and give them a piece of his mind for it. Like, this won't even FIX anything. He's just THAT OUTRAGED over the injustice.

When he sees what he thinks is a fortune telling fraud conning the people, he attempts to debunk her because he's mad to see someone cheating other people with lies—and when he can't debunk her, he just leaves her alone rather than harass her about it. Typically, if assholes think somebody's doing something wrong but don't have any proof of it and fail to get proof when they look, they decide they're right anyway and keep giving that person shit. Ford doesn't give her shit. That's the opposite of an asshole move.

When he discovers his Portal To Knowledge (And Fame & Fortune) is actually a Portal To Doom (But Still Possibly Fame & Fortune, Maybe Even Godly Power), he isn't tempted for a second to keep working on it anyway. There is no moment where Bill manages to tempt him. No matter what Bill offers, no matter how long Bill offers, never, at ANY point, does Ford have a SECOND of "but what if I did make a deal with the devil?" the way so many heroes in similar situations often do.

You ever notice that? So often moral moments in the show are presented as choices the characters make. Will or won't Dipper give Bill a "puppet" in exchange for knowledge. Will or won't Stan fight a pterodactyl to protect Mabel's pig. Will or won't Mabel hand Bipper the journal. Ford is never given a "will or won't he" moment over Bill's threats, offers of friendship, or offers of infinite power—he steamrolls straight past them without a second of consideration—because, to him, the selfish, cowardly, easy choice ISN'T EVEN AN OPTION. He doesn't even SEE it as making a choice because the possibility of doing the wrong thing is invisible. A character who wavers first before turning Bill down would look more noble for "overcoming" temptation—it's harder to notice just how much stronger Ford's moral compass must be to not even feel temptation in the first place.

Greed and pride never tempt him to join Bill's side. Exhaustion, despair, and fear never tempt him to give up. He bears up under weeks, possibly months of extreme sleep deprivation, physical torture, psychological torture, emotional torture, threats of death, threats of brainwashing, threats to his family. He doesn't hold up so that he can pat himself on the back for being a hero—if that was all it was he would've gone "screw it, this isn't worth it and nobody would know I'm the one who gave up" a week in—he does it because he simply knows it must be done and because he's so isolated (half because of Bill's influence!) that he believes he's the one who must do it, all alone.

Thinking he has to do it by himself isn't egotism or pride; it's helplessness. He thinks no one else stands a chance. He thinks he's alone.

And, when he discovers his Portal To Knowledge is a Portal To Doom, he immediately feels guilty. No trying to deny the situation to protect his ego. No shuffling the blame off to someone else. No "maybe the apocalypse could have a silver lining!" No locking the door and trying to ignore the problem. He blames himself for being fooled—he IMMEDIATELY takes full responsibility for his actions—and he CONTINUES to take responsibility FOR THE NEXT THIRTY YEARS.

He takes more responsibility than is even warranted—he treats himself like he's an idiot for believing in an APPARENT GOD who's been practicing manipulating humans for thousands of years and who had never given Ford reason to believe the portal was anything but what Bill said it was. He beats himself up to no end every single time his past with Bill comes up. He even keeps beating himself up thirty years later when he's shoving warning notes to future readers in Bill's evil unkillable book!

When he falls into the multiverse, he dedicates his entire life NOT to finding a way to rescue himself, but to finding a way to permanently stop the CHAOS GOD who's still at the threshold of destroying Ford's world and countless others. He makes himself a hated criminal in the process, just to stop Bill. He's ready to spend the rest of his life trying to protect a world he doesn't think he'll ever see again. He does it because, as he sees it, somebody has to stand in between the children and the obnoxious folklore cryptid menacing them, and he's the only adult in this damn cave with the skills and knowledge for the job.

When he gets home, he doesn't tell his family about Bill and his quest because he's afraid that doing so will get them involved and endanger them too—and because he's too deeply ashamed of himself and his mistakes to stand the thought of his family knowing about the horrible things he's done (AGAIN, WHILE BEING MANIPULATED BY THE GOD OF MANIPULATION).

He loves his great-niece and great-nephew the second he lays eyes on them; he nevertheless tries to steer away from them to keep them safe from Bill; and yet he caves to the very first temptation to emotionally bond with his great-nephew he gets, because in spite of his noble "keep them safe" intentions, he wants so so badly to be close to his family.

As pissed as he still is at Stan and even though neither of them can look at each other without hissing like cats, he still makes an attempt to start bridging their divide by inviting him to play DD&MD.

When the apocalypse happens, he immediately puts his life on the line to try to kill Bill.

And when he's captured, isn't fazed for a second by Bill's offers or threats... until his family is threatened. The exact thing he'd been trying to avoid & prevent from the very start.

And when he's reunited with Fiddleford, his immediate reaction is to point out that Fiddleford's well within his rights to hate him—which isn't a new revelation, it's not like Ford had to do any soul-searching to reach this conclusion, he'd concluded that 30 years ago the instant he realized Bill had played him and that he'd been lied to about Fiddleford.

And then he tries to kill Bill again.

And then he's ready to sacrifice his own life to kill Bill—and the only reason he doesn't is because he has a metal plate preventing him from making the sacrifice... but, Stan doesn't have a plate. If Ford hadn't had the metal plate, he would have gladly done the exact same thing Stan did—and he would have thought it was right for him and only him to make that sacrifice, because it's VERY clear he feels (and has felt from the start) that this is all his fault and he's obligated to fix it.

Over and over and over, these are Ford's two defining character traits: getting so pissed off at injustice that his common sense shuts off and he goes into terminator mode until he's righted this wrong as best he can, even when he can't actually do anything about it; and feeling like he's Atlas, weighed down with the full responsibility of fixing everything he's done wrong and made to believe that, for everyone else's sake, he has to do it all alone. Even when doing so puts himself in harm's way, even when he has to put his entire life on hold for it, even if it might cost him his life. Scrape off his awkward social skills, his loneliness, his nerdiness, his endless curiosity, his zealous love of the strange, his starry ambitions, his yearning for recognition and success—scrape his personality down to the bone and that's what you're left with. A man who believes in defending the exploited so strongly that it makes him a little stupid.

I'm gonna go out on a limb and assume that you probably don't think Stan's fundamentally a bad person, and that you probably think that isn't even worth questioning. Stan's made a whole career out of swindling people, conning them out of as much money as he possibly can, stealing, lying, committing a long list of goofily-named crimes, and attempting douchy pick-up artistry on women; and to cap it all off, he held the safety of the entire universe hostage to demand a goddamn "thank you." Don't send me any "But he had reasons—" "But it was only to—" I don't need it, I don't want the essay, I'm not arguing that Stan's a bad guy, it's fine.

But. You can look at Stan's moments of cruelty and unkindness, his uncharitable thoughts, his character flaws, and think, "that doesn't define him. He's more than his cruelest moments and worst mistakes. He's imperfect, but he cares so much and his heart's in the right place, and beneath all the flaws his core is good."

And if you can't do the same for Ford, it's not because he's a worse person. It's because we got two seasons with Stan and five and a half episodes with Ford—and while we saw Stan yearning to fish with the kids or encouraging Mabel to whoop Pacifica's butt at minigolf or crying over a black and white period drama or punching zombies to save his family, we only saw Ford at the worst moments in his life and under the stress of a prolonged apocalyptic crisis—and, it so happens, all the moments he was pissed at the guy we spent two seasons learning to love.

Ford's got moments of cruelty and unkindness, uncharitable thoughts, and character flaws. But, at his core, he's a good person, and he always has been, and he still is.

[half-oz-eddie]

Sorry I missed you (on purpose)

Buck knew Tommy's schedules and habits, and he knew exactly when Tommy wasn't home.

Tommy's schedule fluctuated from week to week, so how did Buck know this? Well, Buck started anti-stalking Tommy, which is...still stalking, but he was only doing it to avoid running into Tommy. It doesn't make sense. To you, to anybody, but it makes sense to Buck, and Buck's gonna Buck, right?

Tommy liked to keep the porch light on because he fed a neighborhood cat whenever he was home, and he wanted the cat to know it was safe to come on his porch and have a bite to eat. Tommy was just good like this.

It's so hard not to love him.

Monday. Porch light on. Tuesday. Porch light off. Wednesday. Porch light on, and the curtain was open. Buck's heart raced when he saw Tommy walk past the window. What was he doing? Was he alone? Buck didn't intend to stick around too long and find out, so he drove off.

Thursday. Porch light off. Perfect. Buck left a post-it note on Tommy's front door.

"Wanted to drop some things of yours, but you weren't home and I didn't want to leave them on the porch. Feel free to call or drop by anytime! -Buck"

There. Simple enough. Now Buck just had to get the hell out of there before Tommy returned.

Two days passed and Tommy hadn't called, texted or stopped by. Why?

Did the post it note blow away? Did the cat eat it? Maybe he should've reinforced the post-it with some tape or something.

Or maybe...Tommy didn't want to talk to him at all. Maybe he just hated him.

Buck carried that thought to bed.

The next day after Buck's shift, he returned home to find a post-it on his door.

"Sorry I missed you. I have some of your things as well. You can drop mine off and pick up yours this week. Or I can stop by. Your choice. -Tommy"

Buck read the note over and over again. He could hear Tommy's voice in his head with every syllable his eyes scanned on the note. It even had the lingering smell of Tommy's cologne.

Buck stuck it to his fridge.

He missed talking to him.

The next day after his shift, Buck drove past Tommy's house. Porch light on.

Buck kept driving.

The day after, Buck returned to Tommy's again. Porch light off. This was his moment.

"Sorry I missed you again. I just can't seem to remember your schedule. Stop by whenever you can."

He stuck the post-it to the door, but he was unsatisfied, so he pulled out a second post-it.

PS: hope you're taking care of that knee that was bothering you a few weeks ago. You never took that compression sleeve. Should I bring it? -Buck"

It was a little ridiculous, sure, but Buck was talking to Tommy again. Sort of, and it was great.

Buck stopped baking as often, and everyone at the firehouse thought he was making some sort of progress. He told them he was. He just didn't explain the sort of progress he was making.

When he returned home from his shift 3 days later, there were 3 post-its on his door and his eyes lit up with excitement.

"We've gotta stop (not) meeting like this. I can't seem to remember your schedule either. I'm sure we'll sort this out soon." Buck smiled as he grabbed the first post it, before reading the second.

"My knee's better, but I'd still like that compression sleeve. Do you think you could drop it off with my stuff? Or I'll pick it up." Buck smiled wider. He was glad to know Tommy's knee wasn't bothering him as much anymore, but he was happy to know he still wanted his help.

"Let me know what works for you. PS: Is that wrist still bothering you? I hope it's all healed up now. -Tommy"

Buck stuck the post-its to his fridge and smiled to himself. He was almost convinced they'd talked via post-its enough to talk via text, but he didn't feel like it was the right time yet.

He continued anti-stalking Tommy for days, waiting for the day his porch light wasn't on. It had been 4 days since the porch light was off.

Finally. He hoped Tommy wasn't too worried. Then again, he probably wasn't worried at all, Buck assumed.

"Sorry again. I just have a lot of things keeping me busy so I stop by whenever I get the chance. I'm going to try again until we get this right." Buck stuck the first note to the door.

"PS: my wrist is fine now, thanks for asking. I've been putting it to use a lot lately because I'm baking so much."

Buck stuck the second note to the door, but wanted to leave three post-its like Tommy did, just to seem equally as invested in this post-it tag.

"PPS: I almost tripped over the bowl by your front door. Are you still feeding that cat? -Buck"

Buck stuck the final note to the door feeling satisfied. He even laughed to himself when he realized he stuck them to the door in the shape of a heart with the first two on top, and the third beneath.

Tommy probably wouldn't even notice.

When a week passed and Buck hadn't seen a single post-it on his door, he was beginning to worry that Tommy grew tired of their game of tag.

The next day, there was one, single post-it on his door.

"I think maybe I should text you."

Buck's heart was beating out of his chest. Was Tommy going to text him finally?

When? What time? What day? Today? Please be today, Buck hoped.

Buck was back to checking his phone for the next few hours. He started baking again to pass the time so he'd stop obsessing over his phone.

When he heard his phone ding, he nearly jumped across the counter for it.

Buck and Tommy continued to occasionally text for a week. Occasionally became frequently, and frequently became constantly, until they were talking again about any and everything that crossed their minds.

When Tommy addressed them finally meeting in person to exchange their belongings, Buck dreaded the thought. He was convinced that exchanging their belongings would end their text exchanges, so he blew Tommy off several times with various excuses about why he was too busy to meet.

Tommy was willing to wait and continue to text Buck, until one day, the texting turned into a phone call.

"Are you avoiding me on purpose?" Tommy asked.

"I-uh-no-I-I'm not. I'm not avoiding you. Not...intentionally." Buck stammered.

Tommy laughed on the other end of the phone. "Evan." There was that teasing voice Buck so dearly missed.

"Okay, okay. Maybe I am. I wasn't ready to do this face-to-face, in case this was going to be the last time we ever saw each other. So first, I dragged it out with the post-its..."

"I knew I saw your car that night! I thought maybe I was imagining it. Maybe...I dunno, wishful thinking."

Buck listened to the momentary silence and the soft sigh on the other end of the phone.

"The notes were cute, though. I...liked them. I suppose I was avoiding you too. Just to keep this going for a little bit longer."

"Really?" Buck smiled. "Y-you were? I didn't think you even wanted to talk to me anymore—"

"Are you kidding? Of course I do. I just...I know we broke up so suddenly. I...thought maybe we wouldn't work out. I guess it all felt too real and I...ran. I've done nothing but act cowardly since that night."

"I don't think you're a coward, Tommy. I didn't mean to scare you off. If you don't think I'm ready, I can promise you that you're wrong. Since the moment you left, I haven't stopped thinking about you. The baking was just to keep me from reaching out to you so I could give you space."

"I hate space. I hate avoiding you. I miss you, Evan. So much."

"I miss you too."

There was another silence while they each gathered their thoughts.

"Do you uh...do you still want your stuff back?" Buck worriedly asked.

"The only thing I left at your apartment that I want back is you."

Buck smiled so wide, his cheeks were aching. "You mean it?"

"Of course. When are you free?"

"For you? Whenever your porch light is on." Buck answered, getting a lighthearted laugh out of Tommy.

"Well...they're on right now."

"Yeah? I'll be right there."

Leave me kudos <3

[livinghalfway]

Right Reasons; Wrong Kid

Summary: Batfam thinks Damian is being kidnapped when they see Danny getting manhandled into a car by Vlad; Danny loves to make Vlad's life difficult and puts up a fight getting into the car.

Word Count: 1450

Being in Gotham was the last place Danny wanted to be today, especially when he had to be here with Vlad. The fruitloop had somehow convinced his parents that he should go to this stupid three day business conference with him.

While Danny can't make any decisions right now he can certainly make Vlad regret his. Which is why Danny doesn't feel an ounce of embarrassment at what he is currently doing.

"Daniel, get in the car." Vlad hissed at him with a tight smile as they both stood outside of the building the conference was being hosted in.

"No." He said; even going as far as to take a step backwards to further spite the man in front of him.

It was clear Vlad was losing his patience with him if the subtle flash of red in his eyes is anything to go off of. "Daniel, I won't ask again. Get in the car now, or I can drag you in. The choice is yours, but you will be getting in this car one way or another."

"You really gonna drag a kid into your car in front of all these people you're trying so hard to impress?" Danny looked from side to side at all the people congregating on the sidewalk and steps as they wait for their vehicles to arrive.

"I'm hardly the first person they've seen that has had to deal with a stubborn child refusing to listen." Vlad says as he takes a threatening step forward, "Now get in the car."

"No."

Seemingly annoyed but not surprised Vlad takes a deep breath before his hand, like a snake, strikes forward and grabs a hold of him before beginning to pull. Just as quickly though Danny is trying to pull away with just as much strength. Quickly taking a moment to look around he sees that others are already starting to look in their direction; perfect.

With him distracted though Vlad was able to get a sharp tug on him causing him to stubble towards the car. Before he can fall into the car though Danny is shooting his foot forward, firmly planting it down as his hands land on both sides of the open car door.

"Gonna have to try harder than that, fruitloop. I can't make it too easy for you." Danny teased as he fought against Vlad’s pushing.

Vlad doesn't say anything back to him besides giving a low growl. This situation is clearly not going the way he wanted to and Vlad’s frustration was starting to show, and Danny was determined to watch this man break in front of all these people he so desperately wanted to impress.

He locked his arms and knees when he felt Vlad start pushing harder against his back. Preparing himself to jump to the side the moment Vlad loosened his grip even slightly. What he wasn't prepared for though was for the weight pushing against him to suddenly disappear.

"What is going on here?" A deceivingly friendly voice sounds out behind him.

Before Danny can realize what has just happened though a much stronger hand is gripping his shoulder and yanking him away from the open car door. Finally able to see more than just the car's interior Danny see's that three other men are now standing by the car.

Two of them, a teen not much older than himself and a middle aged man, are standing in front of him as if forming a wall between him and Vlad. Who is being held in place by the third man.

Danny can see that Vlad was just as thrown off by these strangers as he is based on the startled look on his face. What confuses him though is when instead of becoming angry like he expects Vlad only looks surprised as he takes in the three guys with them.

"Bruce Wayne!" Vlad announces with a tight grin, "I was just trying to get my son to cooperate with me and get in the car. I'm sure you understand how teenage boys are."

"I'm not your son!" Danny instinctively yells out; no way in hell was he going to let Vlad tell people they were any way related.

It took him a second to register what name Vlad had even said.

Bruce Wayne? He remembers Sam and Tucker talking about that guy and his family when they found out he was going to Gotham. Which means if he's remembering correctly then the young man next to Vlad is most likely Dick Grayson and the older teen next to him is Tim Drake.

Without looking at him Bruce leans towards him and whispers, "Shh Damian, let me handle this."

Wait. What?

"I'm not-" Danny tried to say that his name wasn't Damian, but was quickly interrupted before he could.

"Damian, quiet." Bruce lowly growls; still not moving his gaze to look at Danny. "Actually, Mr. Masters, you'll find that this is my son, and I don't think you should be putting your hands on him."

Vlad looks from Bruce to Danny and then back to Bruce, "While I do agree that you and Daniel share some resemblance this is not your son Mr. Wayne."

It seems Bruce wasn't going to entertain Vlad's "lie" because he still doesn't bother to even look at Danny. Tim on the other hand seems to consider what Vlad said, and turns to actually look at his face.

Danny almost laughs out loud when he sees shock immediately overtake Tim's face. At least one of these fruit loops is smart enough to recognize that he isn't the youngest Wayne.

"Bruce, this isn't Damian." Tim states with wide eyes still locked with his.

Upon hearing this the other two Wayne's finally take a hard look at Danny for themselves.

"Oh my God B, that's not Damian!" Dick exclaims before releasing his hold on Vlad.

Bruce on the other hand is frozen in shock as he stares at Danny as he comes to the realization that the boy in front of him is in fact not his youngest son. Snapping himself out of his stupor, the older man finally addresses Vlad. "Mr. Masters, my deepest apologies. It seems this young man and my son look remarkably alike, and I assumed the worst when I saw him fighting to get into the car."

Vlad takes a step forward towards Danny clear with his intentions of getting them into the car now, but before he can grab him Bruce is once more taking a step in front of Danny. "I would actually like to have a quick word with Daniel if you won't mind."

"And why is that?"

"I have a son his age after all, maybe I can help ease this teenage rebellion phase, and cause less fights when it comes to getting in the car."

Danny must have been more focused on the growing argument in front of him more than he thought because he ends up slightly jumping when he feels a sudden hand on his shoulder. Looking to his right he sees that Dick is now standing next him with a soft smile. "Daniel, right?"

“Danny actually, and you’re Dick?”

"Yup! That's me," He gestures to the boy standing on Danny's other side, "and this is Tim. Sorry about all this; we thought our brother was being kidnapped."

"Do I seriously look that much like him?" At this point Danny had to meet Damian if the guy's family was even confusing the two of them.

Tim is giving him a concentrated look when he replies, "It's like the two of you could be twins or maybe even clones. The eye color is the biggest difference between the two of you."

If Danny didn't know any better he would think Tim was accusing him of being a clone based on the tone of his voice. He knew Gotham was weird, but he didn't think he would have to worry about cloning here. "While I was adopted when I was pretty young, but I think I'd know if I had a twin or if I was a clone."

"Crazy things happen all the time in Gotham."

Well, that doesn’t sound ominous at all. Danny can't believe saying this, but it's probably time to get Vlad's attention and get the hell out of here. He already has one crazy fruitloop to worry about; he doesn't need more. "Vlad, I think we really need to-."

“Father, what is the meaning of all this?” A new voice interrupts him, and when he sees who it is truly shocking to see a mirror of his own face. The other is also now looking at him with something akin to shock and grief.

“Damian?”

“Danyal.”

[maythedreadwolftakeyou]

VEILGUARD SPOILERS FOR LUCANIS ROMANCE SCENE

I haven't seen anyone post this option version for the first dialogue wheel choice in Lucanis' romance scene yet, but it's by far my favorite because it's one of the few (perhaps even only) opportunities the game gives you to add a little depth to your character and the Lucanis relationship (even if it's never mentioned again). My comment below is just about that one choice and followup but ummmmm i recorded the whole scene anyway just for you know. Me. Anyway...

This is the only "anxiety/alarm" dialogue option I think I picked the whole game, but I think the timing of it is really perfect. Especially with the knowledge that Rook was trapped in the Regret Prison for WEEKS. Even if time moved faster for them, we can still imagine it probably wasn't as fast as it took us the player to go through it. But Rook has just gone through a series of awful things--losing one of their companions (and being the one to consign them to that role), learning Varric has been dead all along, Solas (who they were perhaps just coming to trust) betraying them, being trapped with no idea if they'll be able to leave. And they just got confirmation that Solas was using blood magic to make them hallucinate their dead friend speaking to them, so that they'd fall in line with his plans more easily. So when they're trapped and struggling to escape and suddenly hear their new companions calling to them, and come out to find everyone they hoped was still alive safe and waiting for them... wouldn't they doubt it? At least a little? I mean if Solas REALLY wanted to trap them in the Fade forever, wouldn't this be the absolute best way to do it--by convincing them they ARE out and everything might still be okay? And this is especially great with the Lucanis romance because he (and Spite) are the only one on the team who have first hand experience with that same thing. He escaped the Ossuary but he didn't, truly, at first. He knows what it's like to be trapped somewhere and then not really believe in his own freedom afterward. And THIS time, he gets to be the one comforting Rook, who's been his rock through the whole experience, and Rook gets to be the vulnerable one for a change as he finally steps into the more active/supportive role. I just think it's really nice symmetry, to have an option where the hookup scene is coming from a place of loss/desperation on BOTH of their sides, to convince themselves that everything is real AND there's a chance that everything might actually turn out okay in the end.

[xaverie]

So. I love Evan Kelmp. And - imagine that I'm trying to choose my words carefully here.

I've been getting annoyed with him over the last three episodes. Because. I don't like how he tends to impose his beliefs. About what is correct and should happen. On the other characters. And our Black characters, specifically. Which. Was really put on clear display by his interaction with The Qohlye.

Evan seeks to be understood. But I don't think he has.. put in the required effort to reach that same level of understanding with his friends, or in general. Perhaps because they haven't said things in the exact way that he needs to hear them. But he behaves as though he does understand, even though I personally think. That there are things he's missing.

The treehouse conversation. Lots of people seem to get and relate to Evan's side of the convo, which is fantastic! But not as deep an understanding of Jammer's side. Evan decides that the correct thing is for Jammer to come out not hide his magical experiences. He jumps to a few conclusions about the reason - first that maybe Jammer was ashamed, then that he wasn't confident it would go well.

Instead of asking for clarification about what "They need me to be Whitney, you guys need me to be Jammer" means, he had made up his mind. Evan likes that Jammer is magic because that is the way in which Evan feels most connected to Jammer, thus everyone should admire Jammer for his magical abilities the way Evan does. And if Jammer hasn't allowed for that it's some kind of rebuke of Evan, of magic, and of Jammer's own self. Therefore the only correct thing is to merge these identities, but really just be the Jammer that Evan knows.

And I'm not saying Evan is wrong here. But in the same way he's missing the fact that Jammer did try to expose his magic in S2E1, but he couldn't prove it because magic is fucking broken. He's also missing how naturally we, as Black people, fall into code switching. Not just historically as a method of survival, but for practical reasons, privacy reasons, or just to keep our peace. To treat that unilaterally as the same thing as a kind of toxic compartmentalization, or hiding the true self (all of them are true selves), was. Kinda. Sad to me.

Not to take away from Jammer's triumphant success on Galamanis or the freedom represented by growing wings, because this is what he chose and I love that he made those choices. But it also represents potentially giving up fitting into his mundane life and dream career, something he had fought so so hard to keep thus far, and destroying 'Whitney'. This, more than anything before it, might be a fundamental shift in identity.

The same way it made me a little bit sad that Evan had assumed Jammer didn't mean "family" literally, when I immediately recognized that of course he did. There has never been a point in American history where part of being Black and being family hasn't meant - we may have to be apart, but as soon I'm ready (as soon as we're safe), I'm coming back for you, no matter what. It is THE very first promise, the foundational truth, or the only thread of hope that tied so many Black families together through all these generations.

So while everyone recognizes what a sweet moment it was, I also hope people feel the gravity and the history behind "I dream of making that space for you." And the weight of how many people must have said that before him. And what a profound act of love it's always been because sometimes that's all we have.

When Evan tells Sam, "I think you are the most powerful wizard," she instantly replies, "I hope not." Evan's response to this was essentially - who were are is true whether we want it to be or not. Which, to be fair, is both consistent with what he expressed to Jammer and with his own experience. What it leaves out is that our hopes are also who we are. And that maybe the same way he mistook her love toward him for general gregariousness, he is still misunderstanding her a little.

While he deferred to Sam on the matter of whether they should pursue the Qohlye or not, I think it was still Evan's (or Brennan's) idea that not only must all four of them be chosen, but that The Qohlye must be the best choice for Sam.

When the Qohlye says 'I think you're only here because you're convinced you need to be the same as your friends,' is he wrong? When he asks why she needs to be chosen by his magic specifically, she can't answer on her own. When Sam was given the choice between Power and Understanding she immediately chose understanding because of COURSE she did. (She instantly replies, "I hope not." I hope not. My heart breaks.)

And yet. Evan insists that she's given the power anyway. Because that's what fits neatly into what he already believes is correct and should happen. He believes in winning and rewards. He believes she deserves that power and that they need it. So even though I know he does this out of love, he doesn't even consider for a moment that he might be wrong.

Because Sam does get the power, she does thank him, and again not to diminish Sam's accomplishment - once again Evan gets what he wants and is proven right.

Except.

When The Qohlye doesn't give him the answers he wants in the exact form that he demands them. Evan decides that this is a crime for which The Qohlye deserves to die. The Qohlye, who helped return him to life. Who has a strong connection to his friends. (Who chose to be Black, which meant so much to Jammer that he cried.) Who asked each of his friends, in turn, if they thought The Qohlye meant what Evan thought he meant. Who demonstrated that he is not (and cannot be) obfuscating something that is apparently obvious to everyone else.

Evan refuses to accept that yes, The Qohlye can give him information, but cannot understand it for him. And Evan is not ready to Understand because Evan keeps choosing Power. Understanding takes work, even (or especially) when it doesn't come naturally to you. And answers will not always come in a clear and concise way. And this makes him so angry that he wants The Qohlye dead.

While Evan always presents his beliefs and demands as logical and rational, his reaction to The Qohlye's refusal to engage on his terms was simply entitled and immature.

[creamflix]

Hi there! Long time reader, first time asked 👀

I saw your requests were open, and I was wondering if you'd be willing to do a Nanami drabble? Literally ANYTHING, your writing is so good, I trust you 100000%

💖 Even if you don't, thanks for considering anyway 🙏🏻

content: established relationship with nanami, female reader [implied to be shorter than nanami], fluff and crack  thank you for the request anon! hope you like it <3 i wasn't sure if you wanted an nsfw one or not, so i just decided to keep it a lil' silly. — general masterlist ☆

nanami paused mid-action, the knot of his tie still undone, as he watched you drag a footstool across the floor with great determination. his brow arched ever so slightly, curiosity piqued.

you weren’t exactly the tallest person, and that stool seemed to be your weapon of choice for the grand gesture you were planning.

"what exactly are you doing?" he asked, his tone flat, but the faintest hint of a smile tugged at the corner of his lips.

"don’t worry about it," you replied, climbing onto the stool with the kind of focus one might reserve for scaling mount everest. you wobbled slightly, and nanami instinctively placed a hand on your waist to steady you.

"hand me your tie."

his brows rose higher. "my tie?"

"yes, your tie. give it here."

"you do realize i can tie it myself, right?"

"where’s the romance in that, kento?" you countered, managing to look smug despite balancing precariously on your makeshift podium. "besides, i watched at least fifteen youtube tutorials last night. i’ve got this."

nanami sighed, equal parts amused and intrigued, and handed you the tie. he wasn’t in any particular rush to leave — not with this level of entertainment unfolding in front of him.

you grabbed the tie with all the confidence of a seasoned expert, draping it over his neck and starting to work the knot. "okay, step one: cross over... or was it under?"

nanami’s chest shook with a quiet laugh. "you don’t sound very sure."

"shhhhhh," you replied, glaring up at him. "let me concentrate."

you fiddled with the fabric for a moment longer, but as the knot began to resemble a crumpled ball rather than a tie, your expression shifted from confident to mildly panicked. "wait. no, no, no — this isn’t right."

"are you sure you watched fifteen tutorials?" he teased, tilting his head slightly as he watched you unravel your work.

"don’t mock me, kento. i’m in charge here."

"of course you are," he replied, but the amusement in his tone was unmistakable.

you tried again.

and again.

and again.

by the fourth attempt, your frustration was palpable. "why is this so hard? i swear i practiced on a scarf last night, and it worked perfectly!"

"maybe the scarf was more cooperative," nanami offered, lips twitching as he fought back a grin. "or perhaps it had better supervision."

"you’re not helping," you huffed, tugging the tie free and starting over yet again.

"i’m sorry, darling," he said, though his voice was anything but apologetic. "please, continue. i’m thoroughly enjoying this."

on your fifth — and final — attempt, you managed to produce something that vaguely resembled a proper knot. you stepped back triumphantly, admiring your handiwork, and looked up at nanami with a beaming smile.

"there! perfect!"

he glanced down at the tie, then back at you, his expression soft and indulgent. "it’s a little crooked," he said gently, reaching up to adjust it.

you smacked his hand away. "noooooo, it’s not. it’s charming. and you’re leaving it like that because i worked hard on it."

he chuckled then, the sound deep and warm. "as you wish," he said, smoothing down the tie but leaving your imperfect knot intact.

as he grabbed his briefcase and prepared to leave — five minutes late, but not that he’d ever complain — you trailed after him. "so, how do you feel, mr. nanami? pampered? loved? dashing in your wife-tied tie?"

"all of the above," he replied, leaning down to press a kiss to your forehead. "though next time, perhaps we’ll start a bit earlier."

"next time, i’ll have it perfected," you promised, hands on your hips.

he smiled as he stepped out the door, his heart feeling just a bit lighter. five minutes late was nothing compared to the joy of watching his wife stand on a footstool, determined to make him feel cared for in the cutest way possible.

produced by creamflix on tumblr. all rights reserved. do not copy, steal, modify, repost — support your writers by liking and reblogging. ♡ banners by cafekitsune

[zepskies]

https://vm.tiktok.com/ZGdFgGL1y/

I’ve been loving this trend and then realised this could literally bmd Ben and reader asking him to show how he would’ve moved to her in the 80s and even better cause he literally experienced it, I can see him being unwilling to entertain but slowly caving in when he sees she’s not breaking and giving him attention until he tries

LOL that's adorable. 😂 Thanks for thinking of Break Me Down (Soldier Boy x Reader)! Seems to be a theme this week lol! I went ahead and watched that TikTok and again it got me imaging the thing...

Imagine Soldier Boy (Ben) "Sliding Up" to You in the Club

I can imagine that coming up in conversation if the reader in BMD was being subjected to watching another one of his music videos. She'd be teasing him, of course, but he'd be defending himself and his career choices. It was the 80s!

And for your information, Ben says, women were fucking falling over themselves to have him sign their Rapture albums. It was frankly irritating when he went out. Sometimes, he just wanted to relax with a smoke and a glass of bourbon at the club. You scoff at that one.

He looks amused. "What, you think you would've been the only girl in America who didn't cream their panties when I showed up?"

You shoot him a wry brow raise. Do you have to remind him how you two met? Being tied to a chair with zip ties comes to mind.

But then, something else occurs to you. The first time you and Ben actually met was in a smokey club in Medellin, Colombia. You'd been "undercover" then, and though you hadn't danced with him, it makes you think...

"Okay, let's say we're at the club," you pose, with a sly smile. "It's 1983..."

You find the song "Too Shy" on your phone; quintessential 80s pop. The smooth riffs start playing. You get up to start vibing near him in the comfort of your living room. You're just swaying side to side with a little sensuous, playful bounce to your step, your hand movements simple.

Ben doesn't want to smile, but you're making it difficult as he lounges half across the couch.

"Come on. How would you slide up on me?" you taunt.

He arches a brow. "Slide?"

"You know what I mean. What was your move, huh?" you ask, teasing him with the curve of your ass and the sway of your hips in your yoga pants.

You saunter closer to him, beckoning him over to you. All the while you sing to yourself, "Too shy, shyyyy. Hush, hush, eye to eye..."

Ben rolls his eyes, reluctant to rise to your bait. But eventually, your teasing is too much for him to ignore. He pulls himself off the couch and comes up behind you.

He takes your hand while you're purposefully facing away from him, and smoothly turns you around, guiding you back into his arms like he's Fred Astaire. You utter a little gasp and grab onto his shoulders. Your gaze flicks up to his with a smile.

His lips curve as he looks down at you. He matches the vibe of the song as he moves along with you, but then he turns you around, holding you from behind with steady hands sliding down the curve of your waist. His strength is tempered just enough for you to feel it.

He gradually moves closer with every bounce of the beat, and soon every part of his body is molded to yours. Your hands fall over his as you subtly lean back against his chest.

He bows his head near your cheek, smiling, because he can hear your heart beating a little faster. His lips brush the shell of your ear.

"Gotcha."

AN: Once again, this turned into a little headcanon/imagine that I wasn't expecting. 🤣 Last post before I'm off on a trip all weekend! 💚

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[thedouglastrap]

Something about this post is bugging me, but every time I to put my finger on it, I feel like the reason slips away. So I think I'll just try to sort through it here and see where that leads me.

Mechanical changes impacting play style makes sense, but I think I question the cause and effect here. Because the rules mentioned that "encouraged the GM to think of monsters as real living creatures", morale and reaction rolls, are things that seem (to me at least) less about making these monsters seem real and more about adding more angles to introduce randomness to random encounters. If a random aboleth shows up while you're walking from point A to point B, a reaction roll is a quick and dirty way to see how they view the players, but it doesn't account for what an aboleth is. Similarly, a morale roll is giving a method beyond the DM just making an arbitrary ruling sans dice. That's not to say that a good DM can't use the roll to breathe some life into an encounter, of course, but I don't know if I would say those rules being removed/put in the flavor rather than made a general rule was a primary contributor to a greater emphasis on combat, or if that was even an intentional design choice.

(as a side note: looking up what reaction rolls actually were were, I stumbled onto a blog about the whole OSR thing in ttrpgs, and decided to go down the rabbit hole for a bit. It seems like a lot of the conclusions being drawn in this post are close to issues raised over there, but they tend to include AD&D2e as a point where the shift happened, making it less a TSR/WotC difference)

Now, if there IS a greater focus on combat in that shift, I think it's probably due to the game getting crunchier over time during that shift. 2e seemed to start it off with a wide variety of optional rules, and 3.x cemented it. But notably, it did this for non-combat as well, which makes me think that it was less a design choice to make things more combat oriented and more to provide comprehensive rules, with combat being the most fleshed out part in service to the whole heroic adventure aesthetic.

I think one of the biggest issues I'm running into is the following point about how encounters have to be these justified forced combat encounters and the dissonance this can provide. I think part of that is because that conclusion just doesn't match up with the reality I was seeing playing 3.x or seeing other people talking about it. Not to say combat wasn't the focus, but plenty of non-combat encounters happened, enemies ran away, scenarios were derailed by roleplay rather than combat, etc. And sure, that's anecdotal, but I think it's relevant. The game does, after all, provide individual sections for monsters giving a basic rundown of what the creature is. Some are more bare-bones than other, but when Archons are listed as "never attacking first, but being easily provoked", that's a pretty clear indicator that forced combat should not be the default assumption. If players ignore that, sure, but that's no different than ignoring reaction rolls imo.

The real difference, I think, is the afforementioned shift from a focus on an open world where the party has more freedom to explore and do whatever they want while the world happens around them, to a focus on more structured narratives where the players are characters in a story that is unfolding around them. Its a shift away from "well the dice say there's an aggressive dragon swooping in, have fun with that" towards "I planned out the encounter you're gonna run into between startersville and plotlandia". That also kinda follows from the idea of encounter balance. Having a random dragon swoop in on a third level party isn't a balanced encounter unless the DM goes out of their way to make it one, but that takes more time and prep than rolling a few dice and opening to a statblock can account for. And yes, planned encounters like this can, if done poorly, just be a shooting gallery of forced fights with thin justifications. It could also be well crafted encounters where you could talk down the goblins instead of fighting by opening trade negotiations.

The play style that the difference in design encourages isn't so much "fight all the things vs treat your enemies like actual living things" as it is "how structured do you want this game to be", which is ultimately value-neutral. And the moral disconnect about what you're fighting seems like an entirely separate thing from that. Neither style inherently encourages or discourages that, and it feels uncharitable to say that WotC-era d&d is more skewed to be morally uncomplicated than TSR-era.

So there is a pretty clear shift in playstyle between TSR D&D and WotC D&D: for better and for worse, D&D 3e introduced the idea of encounter balance, de-emphasized mechanics that had previously encouraged the GM to think of the monsters as real living creatures (reaction rolls, morale, etc.), and it had the effect of making D&D a much more combat-focused game. D&D has always been a game that's opinionated about combat, it's basically the most expressive and detailed form of play regardless of edition, but combat in the TSR editions was not exactly zoomed in and tactical. The WotC editions purposefully made combat zoomed in, granular, and tactical.

And this has had an effect on playstyle: since combat is now the main form of player expression what players actually want is for their characters to get into combat. Because combat is the most fun part of the game. But the game has also changed from the largely amoral dungeon-crawling game into a game of fantasy heroics (even though a lot of the trappings of the amoral dungeon-crawling still remain, which contributes to the dissonance), so you can't just have the player characters going into combat for the sake of it. That would frame the player characters as kind of Fucked Up, and we can't have that in our supposedly heroic fantasy.

What you end up with is a variety of contrivances like "they're bandits," "they're cultists," or, my all-time favorite, "they attacked first" to make the action seem morally justifiable, even though gameplay is still motivated by a desire to fight. The monsters fight to the death and, importantly, can often not be reasoned and negotiated with, partly because combat is supposed to be the fun, engaging part everyone is here to do, but also because if they actually acted like reasonable people it could cause dissonance with the whole "the player characters are the goodest heroes."

As my friend @tenleaguesbeneath once called it: what is actually going on is that the player characters are hunting people and monsters who have been programmed to fight to the death and never negotiate for sport, while justifying it as self-defence.

It's a simple power fantasy, and I don't think there's anything wrong with it. Sometimes you want to play a morally uncomplicated game about killing guys with cool magic swords. But I think it's also fun to think about what the specific types of monsters players end up fighting reveals about Society the invisible, unexamined ideology lying under the surface that the designers of even modern D&D have failed to examine. And to me it often reads like a frontier justice fantasy. None of that is to detract from anyone's joy of the game, and for me it's just fun to think about and post about this stuff while Still Enjoying the Game, but if someone expressing that opinion makes you feel uncomfortable, why? That's pretty silly imo.

[akuma-tenshi]

finished closing night!! boy do i have some thoughts. and now that i've gathered them, i'm about to make my autism your problem. spoilers below.

the first part of the event wasn't awful imo, it felt like character building and just helping establish the dynamic. i know some people weren't fond of it but given that i was never really that invested in hullabaloo before this and didn't know every little detail of these characters, it was nice to get some character establishment and figure out how they all are as people. i am also a fan of slowburn character-focused horror, so that may just be a personal taste thing lmao

bryce papenbrook does a good job as mike, even though there are definitely points where he sounds exactly like nagito (namely the scene where he's shouting at margaretha in the foyer). he has a very particular way of speaking / voicing characters that make it immediately clear it's him. however, i do think he fits mike well and he definitely lays off the nagito-ness in the second part.

the rest of the cast was excellent as well. while there was a Choice made with murro's voice (he sounds WAY younger than he's supposed to be, which is off-putting and takes me out every time he speaks), it's very clear everyone knows their characters well and they all do a good job keeping their mannerisms and vocalisations unique and fitting to each role. aside from some awkward lines (which i attribute more to stilted writing than to the va's themselves), the voice acting is absolutely a highlight.

margaretha's trauma with sergi is portrayed very well imo. bear in mind i have not suffered the same abuse as her, so i can't say how accurate or good it is, but it feels like it displays that it was a terrible thing while also being respectful and avoiding being exploitative. the added layer that everyone else (except joker) liked sergi and was unaware of the abuse adds a lot.

in general, i think mike and margaretha are incredibly well-written here. i think ne could've absolutely gone the route of popular fan interpretations and completely demonised margaretha while making mike a perfect angel, and they would've gotten a lot of praise for it. but they stuck to their guns and made them both very flawed yet understandable people, and that just makes everything feel that much more real, at least to me. they're such different people with opposing goals, and their friction really comes through. everyone else is very well done (shoutout to me a couple of hours ago calling joker cute for some godforsaken reason i can't remember) and i love all of their characterisations, but mike and margie really are the standouts here.

i do wish there was a bigger payoff for margaretha using euphoria so frequently. i know it's implied to have been involved in violetta's death, and i appreciate the connection to game 5, but i wish there was a little bit more there. it's not a huge gripe though, so i won't harp on it for long.

the pacing at the start of the second part had me extremely worried; things felt like they were dragging along and being padded out for the sake of being padded out, and i was not having fun with it. fortunately, this issue was remedied about halfway through, and once things got going, i started really enjoying myself. the pacing of the first half of part two is my biggest gripe with this story.

i was noticing a lot of similarities between hullabaloo and fool's gold: hunter forms of popular survivors being announced and used as a major part of marketing for an update to the idv story. with the aforementioned pacing issues, i was really worried that hullabaloo's reveal would shape up to be similar to fg's: a kinda cool cutscene and a lame chase sequence at the very end of a long, boring storyline. however, despite hullabaloo having a much smaller part in this story than fg did in aom, appearing only briefly in the fire at the very end, i still think it's a better incorporation of the character than what they did with norton. better to have it be quick and intimidating than just kinda tedious.

every death in this (aside from joker's) felt very purposeful and well-done. violetta's death was heartbreaking. the change in animation towards the end, followed by the single sound of her machinery giving out after the screen went black, was beautiful, and hey, at least she died happy. margaretha's death pulled at a very specific and very major love i have in storytelling, that being a character choosing to die free rather than live in captivity, and the payoff of all the underwater scenes where she swims towards sergi finally coming through when she chooses to sink away from him had me losing my mind. i genuinely did not expect mike's death to be a straight-up suicide; like i said, i'm not completely caught up on hullabaloo lore, so maybe other people saw this coming, but the fact that he truly could not live with the truth about hullabaloo is such a heartwrenching yet satisfying end to his character. like i said, joker's is the only death that doesn't totally stand out, but i like that they let you put the pieces together yourself.

the chase sequence with joker was unintimidating and a little lame, and honestly it felt somewhat forced, just a way to get his hunter form in there bc they realised "oh shit right this guy's like. a hunter isn't he." i do like that they gave him back his chainsaw though; very nice little callback to the betas.

the animation of the hullabaloo fire was absolutely gorgeous and the ending had me in shambles. for a while afterwards i felt similar to how i felt after finishing end roll: drained and flat but in a good way, like a ton of adrenaline had just released from my body after some intense event.

all in all, i really enjoyed it. i can't say if i like it more than aom, but that may be the frederick bias coming through, so i'm going to choose not to rank them and just say hey. banger event. well worth the hype even with its hiccups and flaws. i always say this, but idv has some genuinely talented people in its writers' room, and i can't wait to see what they come out with next.

[millieisawriter]

Workin' girl

arthur morgan x reader

summary: the one where arthur pulls a john — falling in love with a working girl. it was never supposed to happen, yet it did, and now arthur is left with two choices. either he, again, walks away from a woman that loves him, or tries to fight for her.

wc: 2k

all pics taken from pinterest

♡this wasn't requested, but if you wish to request something you're more than welcome♡

a/n: i see this happening in blackwater in case i decide to write a 2nd part, but when i started writing i imagined saint denis, didn't see any town/city names mentioned as i was proof-reading, lmk if you see something i missed <3

Life has never treated you kindly so eventually, as soon as you could leave your family home, you turned to the oldest profession in the world. Even if that kind of life was better, it still wasn't ideal, but it was the best you could do. Eventually, you started to like it because even with its issues and dark sides it wasn't that terrible. Some would even dare saying it was 'easy money', which you actually knew wasn't true.

Luckily for you, you ended up in one of the more expensive brothels. Maybe it was the 'splendor' of the place, the luxorious interior, that made you feel somewhat safe. Safer than you would feel in some cheap saloon where the patrons consisted of drifters with a questionable past.

You had your regular patrons, ones that you got along with well — one of the reasons why they were your regulars. These were the men that could stay a bit longer after the service itself was done without making it awkward. Ones that you could have a conversation with, ones that saw you as another human being, not just an item to relieve their frustration.

It was a normal evening, the building was neither empty nor full. You didn't have that much on your hands, you and a fellow working girl were entertaining a group of men. They sat by a table, a drink in one hand, a cigar in the other, and two of these men had a companion in their lap — you and your friend. Ending the evening in the bedroom wasn't certain, for now you were just trying to make them spend as much money as possible on the drinks.

Then, Arthur walked in. One of your regulars, one you were particularly fond of. The chemistry between the two of you was so strong sometimes you wanted to tell him he didn't have to pay.

His eyes immediately found you, and he would be lying if he said he didn't feel jealous seeing you in the man's lap. But you, as if on command, turned to look at Arthur and as you noticed your favorite patron, you excused yourself from the table.

"Mister Callahan," you beamed, approaching the man, "so good to see you again."

He tipped his hat to you, his lips curling into a soft smile. "Evenin' darlin', thought I'd stop by again. You been keepin' busy?"

The way he always called you darling, every time, made you feel so warm and bubbly. Of course, he wasn't the first man to do that, but when it came from him, it felt almost sincere.

"Busy enough," you replied, glancing over your shoulder at the table of men you just left, "but I'll always make time for you, mister."

"Well, reckon I'll take you up on that. How bout we find a quiet spot?"

"Your wish is my command." Giggling, you took Arthur by the hand to lead him upstairs where your room was. Even if he already knew the way well enough.

Your room was just like any other room in that brothel — furnished with the most luxorious-looking furniture, tastefully decorated with expensive ornaments, every little detail taken care of.

As the door to your room clicked shut behind you, the world outside seemed to fade miles away. In that moment right there it were just the two of us, bathed in the dim light by the fireplace's glow.

Arthur's hat found its usual place on the small table by the door and he turned to face you, "I can never stay away for too long." Shortly, his hands landed on your waist, resting on the corset of your dress.

"Then maybe you should visit more often..." You suggested, your own hands finding their way to the man's shoulders.

"I'm afraid it ain't a good idea, darlin'. I always look forward to seein' you. But sayin' goodbye..."

"I get what you mean," you chuckled, "so what's it gonna be today? Just the regular service, or you want something extra? It'll be on the house."

Every time Arthur visited you, it was both blissfull and painful for him. You were so good at what you were doing it felt like a religious experience, but the attachment he held for you left a hole in his heart each time he had to say goodbye.

He had always wished he could just ask you to leave this life, and join the gang, but which woman would agree for this? Your current life, your current job, as oppressing as it was, couldn't be worse than living on the run. In Arthur's eyes at least.

In the brothel you had your own room, a wardrobe with many dresses. You had a somehow stable income, it didn't seem as if money were any issue to you. All this, compared to what you could have in the camp, was much worse. And you didn't even know his real last name, there was no reason for you to leave this life you had for a criminal.

Why did Arthur even fall for a working girl? The exact same thing happened to John, which Arthur would often make fun of him for. Maybe life just decided to pull a joke on Arthur now. But he just couldn't control himself, from the first time he saw you, you were different. With other women it didn't take long to notice they're just playing a role, but you... from the first time you even smiled at Arthur, he was drawn to how genuine it looked. And now, you had become not just a pretty face to entertain him, but someone he felt at ease with.

This time, as many times before, Arthur didn't hurry to get dressed and leave the room, return back to camp after getting what he wanted. Instead, he stayed under the covers in your bed, smoking a cigarette as you kept going on about something that happened a few days ago.

He didn't mind, he could let you yap his ears off, your voice was such a calming sound. It was almost hard to believe you weren't just a hallucination he made up. How could such an ethereal being just lay there, next to him, head propped propped on your palm as you lay on your stomach, talking about whatever nonsense? How could this happen to a man like Arthur Morgan?

"...so then," you paused to take the cigarette from Arthur, take one puff and hand it right back, "you'd think a man like him would have some sense, right? Well, no, he was so damn thick in the head, she just told the guard to throw him out!"

Arthur chuckled, exhaling a stream of smoke. "Bet he didn't see that comin'. I'm glad I ain't made it onto your list of thick-headed fools yet."

"Yet!" You playfully reminded him. "You seem to have more sense than others, although I can't say I'm some weak little girl. I don't even need a guard, but the madam insists it's for safety."

A thought lingered in the back of Arthur's mind. It was weird, in a sense, to know there's a guard right outside your door whenever you had a man up there. Even right then.

"I don't doubt you could handle yourself, darlin'," Arthur smirked, taking one last drag from his cigarette, "but it don't hurt havin' someone lookin' out for you."

You rolled your eyes, a smile tugging at your lips. "Guess you're right, mister."

Arthur stubbed out the ciragette into the ashtray that stood on the bedside table, knowing what it meant. His time was up, he extended the time of his visit as long as he could. Now that his usual cigarette was finished, it was the time for him to go.

He swung his legs over the side of the bed to stand up. You watched as he reached for his clothes that had been thrown onto the floor, and for the first time a single tear started to burn the corner of your eye.

With his jeans already on, and his shirt for now unbuttoned, he reached to the pocket, retrieving the usual payment. You wiped the tear away as it escaped your eye. It was always the same routine, but it didn't make it any easier to watch him go.

"Here it is." He said almost robotically, placing the money next to the ashtray, throwing in a little tip.

You looked at the money with sadness in your gaze, then your eyes shifted to look at the man. "You know, you shouldn't have to pay, because you don't make it feel like work."

There they were, the words Arthur was so afraid to hear. Him having a more romantic kind of attachment to you was one thing. However, knowing that you reciprocated the feeling, made it more difficult.

"Good," he nodded, "cause you don't make me feel like the bastard I am," as he buttoned up his shirt.

You sat up on the bed, pulling the sheets harder around you, since you were still naked. "Arthur..." You sighed, the rest of the sentence dying in your throat.

The fact that for the first time you had used his actual name instead of calling him mister as always, made it only more difficult.

"No, darlin', don't."

"You know you don't have to leave, right?"

Oh, he had to leave. If he overstayed his welcome too much, the guard at your door would become highly suspicious. And that would only cause issues for you.

"I have to, don't wanna make it harder." Arthur replied.

"Harder for who? I know a man's nature well enough, and I can tell there's something more in the— the way you fuck me, Arthur."

He thought maybe playing dumb would help him. "What do you mean?"

"I mean that if you were to ask me to... to abandon this life for you... I would."

Arthur gulped. It was just what he wished for, but what he couldn't allow to happen. "I've got nothin' to give you. I live on the run, it ain't somethin' you wanna be a part of, trust me."

"You think I'd rather keep fucking strangers to survive, than travel the world with a man I lo—"

"You don't." Arthur interrupted you. "You don't know what you're talkin' bout." Love was a word of huge weight, there was no way it was what you felt for him.

You insisted. "I know what I feel, and I know what you feel, I see it in your eyes, I feel it when you're in my bed, Arthur. I wanna leave this life for you."

"It ain't gonna be no escape, though, just another kind of trap. You deserve better than fuckin' strangers to get by, but you also deserve better than runnin' and not knowin' which day will be your last."

"I don't want better!" At that point you didn't care if the guard outside will hear. "I want you, Arthur!"

"I want you too, darlin'," he admitted, his voice breaking slightly, "but... you're safer here. I can't sentence you to a life of an eternal wanderin'."

His words had a final tone, but as well as you could read his eyes, you could tell he regrets saying what he had just said. You could have had a roof over your head, and locks in your door, but it wasn't safety. It was survival.

You stepped closer, reaching out to grab Arthur's hand. You knew he didn't want to leave, you were sure he wants you just like you wanted him. "Arthur..."

His heart ached when he saw the way your beautiful eyes looked at him, but still he decided to kiss you. It only made it worse, making another cut in Arthur's already damaged heart.

"I gotta go." He stated, freeing his hand from yours.

"No." You refused as if you had any say in that matter. You could demand he takes you with him now, wherever he's headed, but what would it do?

"I can't make promises," he continued, putting his boots and jacket on, then his hat, "but I'll figure somethin' out."

You stayed silent, watching him leave the room, not knowing if he's going to keep his word. All you had now was the money, that you didn't even want from him, and the promise that could have been empty.

[20001541]

Can't stop thinking about this from chapter 59. We see this panel when Toshi is telling Izuku all about the OFA vs AFO conflict.

What catches my attention is that last part: "we still don't know whether that was out of kindness or if it was to force his brother to submit." Because the tale of AFO giving his brother a quirk was passed down from previous OFA holders and the only reason why they know that is because of Yoichi assumingly who told Kudou and Bruce. So that means that this question that Toshi raises here, if it was out of kindness or a way to force submission, might've been first raised by Yoichi. Who until he died wasn't sure about his own brothers intentions when forcing a quirk upon him.

The kindness possibly being Yoichi thinking AFO just wants to help make him a little stronger when he's so weak physically and the submission is him just trying to force Yoichi to join his cause. We never get a true answer to this question, but I feel like you can come to your own conclusion through the content we're provided with. But ahhh the fact that Yoichi might've even raise this question says so much about how he views his own brother.

Truthfully, I think it's a bit of both based off of AFO's own dialogue from 193. He saw it as doing something good for his weak brother and it's a great gesture of benevolence in his eyes. As usually he doesn't give out quirks without a price and the only thing he's asking for here is brother to join him. Which is more than what he offers anyone else. He probably thinks Yoichi benefits more from this exchange than him as he's giving him a chance to be more than what he is currently.

But also it's a way to force him to submit as it's done in a "you have no choice but to give in and join me manner." He doesn't care how much Yoichi fights him he's operating under the assumption that Yoichi will eventually give into him. The forcing of the quirk on him is to show it doesn't matter what Yoichi says or does, he's going to get what he wants in the end and there's nothing Yoichi can do about it.

That's what I think at least anyways. Could write more but I'll stop here for now. This whole post is going off the assumption that Yoichi did raise that question first of kindness or submission and I could be wrong in assuming that, but it makes things far more interesting if you think about it from that angle. As I doubt Kudou and Bruce would consider any type of kindness from AFO.