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kisses4reid · 6 months ago

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protect | ·˚ ༘ spencer reid ,,

summary - you get badly injured on a case, and the hospital visit ruins your surprise.

genre - fem!bau!reader x spencer, hurt/comfort, little bit of angst and arguing, fluff, happy ending!! reader can bear children (has female anatomy)

warnings - pregnancy, major injuries, mentions of gross hospital things, r uses she/her pronouns, usual criminal minds violences

w/c - 2.2k

a/n - thank u for the request! loved the idea immediately and this is the first time i’m writing abt pregnancy and stuff so pls do not quote me on anything!!! also this writing isn’t my best, sorry abt that. okay bye have fun reading

request - (@ursuu-la) hihihi idk if you're taking requests, but what if u write something where Spencer and a fem reader are dating and she's pregnant, but she's kinda scared(? or nervous to tell Spencer. And maybe she could tell it to one of the girls of the team to find a way of approaching Reid, but then she gets hurt or something happens to her in a case.

“Oh. My. God.”

You turned your attention from the open manila folder to Garcia’s multiple screens, searching each one for something important, “What?”

“Y/n M/n Reid. You’re pregnant?” Garcia spun in her chair with an angry expression while pointing a ringed finger at the main computer screen. It was your medical history - which you allowed her to search so she could experiment with a new hacking technique - but you had forgotten about your recent discovery.

Your hand was clamped over your mouth as you stared in shock and started rambling through your fingers, “Garcia. I swear, nobody knows - I wasn’t keeping this from just you,” you placed your hands on her shoulders when she stood up in disappointment, sending her office chair to collide with the desk, “Spencer doesn’t even know, please Garcia. Don’t tell anyone.”

Your eyes searched hers for a promise or compromise, but instead you got welling tears.

“Garcia?”

“Y/n, your pregnant with a little Reid! This is amazing- How come you haven’t told him? I’ll have a new little nephew or niece! Y/n!” She squealed and took your hands to spin you in a circle in her small office. You immediately felt nauseous and slowed the excited girl, her hair accessories threatening to fall off in her happiness. You held your stomach and whispered,

“No spinning, I’ll throw up.”

She glanced to her computer screens and shut them down immediately, sitting back down and taking a deep breath. “This is great! Right? Please tell me this is great, you’re already 6 weeks pregnant.”

You bit your lip and nodded, “I mean, I think it’s great but..” You lost yourself in thought.

Last year when you and Spencer got married, you had talked about starting a family many times. But every time you both agreed to wait a few more years in order to save up more money and maybe move into a bigger apartment or even a house. This was not what you planned.

Spencer liked having a plan, it was one thing you grew to love. He was organised and, due to his amazing memory, remembered everything, especially everything about you. And though you two had grown so close you were basically one person, this was the only time you had no idea how Spencer would react if he found out your secret.

“I don’t know how to tell Spencer.”

Garcia grinned, but it was quickly wiped away when she noticed a certain figure in the doorway. You spun on your heel, heart attacking your ribs. Luckily, it was not your husband, but your boss. He stood sternly and started, “We’ve got a case, wheels up in 30.”

You nodded and turned back to Garcia, all she did was wave and whisper, “I’ll text you.”

In the plane, you sat next to Spencer in the aisle seat, stomach feeling queasy and phone vibrating non-stop in your back pocket. You pinched the bone between your eyebrows and squinted at the case files that Hotch had quickly gone over. Morgan was spilling some theories, Prentiss backing him up, when Spencer lowered his head and whispered in your ear, “Are you okay? You seem tired.”

You put on a small smile and nodded, the fact that Spencer had noticed something wrong meant that the rest of the team would notice soon too. You raised yourself and squeezed Spencer’s hand that had been in your lap. You murmured a small excuse me to Hotch and excused yourself to the plane’s toilet.

Spencer began to get worried for your health. The past week and a half, you’d been eating less and then more, and then you’d say you felt sick, and then you were full of energy. You cancelled plans, you slept more, and you had started avoiding Spencer. You were getting sick, and distant, and he hated how you wouldn’t let him help you whenever he asked. He furrowed his eyebrows and shook his head slightly, attempting to focus on the profile.

Sat on the toilet, ready to double over into the bathroom sink, you pulled out your phone and scrolled through Garcias texts.

What about a baby onesie with Daddy’s favourite child on it?

What about a candle lit dinner?

What about donuts that spell out ‘I’m Pregnant!’

I’ve seen people purposefully burn bread and wait until their husbands understand, maybe that?

Maybe. But right now, that was not what you wanted to think about. On top of the case and the whole pregnancy situation, your symptoms were becoming harder to conceal.

A whole day of analysis, interrogating, leads and dead ends led you to a one story run down house with broken windows and an overgrown yard. You threw the FBI bullet vest over your shoulders as Spencer approached you with a tight smile. His hair was shorter these days, after he finally let you start cutting it, but nothing could change his attractiveness. His cologne wafted into your senses as he went behind you, tightening your vest and patting your back and waist down to make sure you were at optimal safety.

You could almost imagine he knew you were pregnant.

“Remember, if he’s in there, keep your distance. He’s a big guy but silent, and not all there.” He furrowed his eyebrows as he did a last check over of your vest, belt, and the position of your gun. You smiled and nodded,

“I know, Spence. I’ve been here too.”

He sighed and nodded, placing a small kiss on your cheek as a good luck.

You were married, but there was no guarantee you’d both make it out of any case. Every movement could be your last, and every interaction could be your last together.

Morgan slipped through the door after a man picked the front doors lock, Prentiss behind him and you behind her. After you, followed Hotch and Spencer.

“Clear!” Morgan called from the kitchen. You turned right down a hallway, Prentiss disappearing into a small room on the right and yelling,

“Clear!”

You entered the small bedroom, gun high and steps careful. It was an adults bedroom, maybe a teenager. There was posters of horror movies, a thin mattress on the floor and shelves of books and wooden cupboard holding what you believed to be clothes.

“Clea-“

The wind got knocked out of you, your shoulder colliding with the wall to your left and a sharp handle being jabbed into your side, as you plummeted against the floor and hearing a loud thump and shattering glass beside you. Miniscule, rainbow, dots clouded your vision, the adrenaline and the concussion you were sure you had numbing the pain coursing through your veins. You screamed in pain, Hotch entering almost immediately.

You lifted your right arm to point out the window, the glass shattered from where the unsub had escaped.

Spencer entered the room in a rush, eyes running over the fallen cupboard that would've been taller than the both of you, and then your small body in the corner. You held out your arm for him, and he placed his hands under your armpits, jolting back when you screeched in pain. "Y/n, your..." His eyes widened in shock and fear at the sight of your dislocated shoulder. Your right hand clutched to your left side - no doubt trying to comfort a massive bruise or worse.

He gulped, helping you up and throwing your good arm around his shoulders. The sudden movements blanked your vision for a few moments, a small lump forming on the front left side of your temple, and your legs trembled in the sudden need to hold yourself up. "Y/n, we just need to get you to the ambulance, alright?" Spencer told you reassuringly. He didn't know how much you could understand, your eyes were cloudy and your movements spaghetti-like, but he continued to reassure you anyways.

The paramedics set into action as soon as they saw your near limp body strung across Spencer's taller build. You were placed in the ambulance on a bed and before you knew it, there was a heavy clamp on your finger and two paramedics touching you and saying unexplainable things to each other. A short one with a beard came close to your vision, obvious aware it was still slightly blurred, "Agent Y/n. We need to take your shirt off in order to fix your shoulder okay? We need to pop it back in as quick as we can."

All you could do is nod, Spencer making most of the choices for you as your husband - he wouldn't put you through something he knew you would disagree with. They asked him questions, and while the voices came in and out of focus, the adrenaline was wearing off and suddenly your senses heightened. "Is she pregnant?"

The question rolled off the paramedics tongue like a rehearsed poem, and Spencer shook his head like there was no possible way you were. But as you saw needles being prepared, your heart started pounding so fast it got the attention of the professionals. "Y/n, are you still with us?"

To Spencer, you looked like you had just woken up to a bad dream, but there was something deeper - you were not unconcious, if anything you looked alert.

"I'm pregnant." The paramedics glanced at each other and Spencer's eyes widened. The one with the needle placed it down carefully on a table, and before you knew it, you were being pushed through hallways and into a awfully bright room.

You passed out, fear and exaustion catching up to you. But Spencer couldn't sleep. On top of the fact that his wife had just gotten her shoulder dislocated and then fixed, and a slight rib fracture, she was also pregnant.

Spencer doubted for the first half hour of waiting for you to wake up that you actually were. You were saying nonsense, you were injured and the adrenaline... usually causes people to tell the truth. He paced and went over everything that had been happening. The change in your behaviour, the tiredness, the sickness. It was all coming together like a puzzle, and he wondered why he didn't realise sooner.

"Spence?" A small voice called out, and he approached the hospital bed almost immediately.

"Y/n." Spencer smiled in relief, overjoyed that you were alright and breathing. He knew you'd be fine, but anything can be unpredictable. Anyone can be unpredictable. "I'm so glad you're okay."

"What happened?" You tried to sit up but Spencers soft hands encouraged you to stay laying down.

"The unsub pushed a cabinet at you. You collided with the wall and dislocated your shoulder." He explained softly, the doctors told him that the specific pain killers they gave you may cause some loopiness. "Oh." You whispered, eyes searching his face like you had never seen it before, and you smiled. You were here, and he was here, and you needed nothing more. Other than more pain killers.

Spencer bit his lip, and sighed, not sure if it was the right time to bring the blindside up at that moment.

"Y/n, darling, are you... pregnant?"

The small grin wiped off your face and you took some deep breaths, nodding and avoiding his gaze in fear of rejection. Spencer sighed, and pushed his hair away from his face, a smile rising onto his cheeks. Tears welled in his eyes from happiness. "This is great, this is... wow Y/n, I can't believe.." He gulped, "I can't believe you didn't tell me sooner."

Confusing his disbelief for anger, tears started dropping down your cheeks as you sat in silence. Spencer started to worry, "Do you... not want to have a baby with me? Or at all? Do you think I won't be a good father? I know that I've had my problems in the past but I promise I can be a good father-"

"Spencer." You called his name in shock, heart aching over his insecure questions. "I do want a baby, especially one with you. And I don't think you'll be a good father, I know you'll be a great one. I just," you wiped your cheeks and he sat down in a chair beside your bed, taking your hand in his. "I'm scared. I thought that you wouldn't want to have one right now because of our... plan. This is really early and we didn't get to save- and- I thought you'd be mad-" You had started blubbering now, the heart monitor becoming a ticking time bomb for a full on breakdown, before Spencer took your face in his hands and smashed your lips onto his.

He pulled back, smile wide, eyes full of adoration and sorrowfullness.

"Y/n, I don't care about that plan anymore. And I'm not mad." He searched your eyes with his, "I just wished you told me earlier. Maybe you wouldn't have been injured, because god knows I wouldn't have let you go out into the field."

"Spencer, I'm so sorry." You sniffled, placing your other hand on top of his.

"Oh, darling. You don't have to be sorry. I've made my injured and pregnant wife cry, I should be sorry."

You giggled, and leant forward to kiss him on the nose. "So it's really okay?"

"Of course. You just have to heal quickly, and I'll do all the rest."

taglist (open!!) - @jeffswh0re @reap3erslov3 @candyd1es @0108s22m

#criminal minds #spencer reid #cm #criminal minds imagine #spencer reid imagine #spencer reid x reader #spencer reid oneshot #criminal minds fluff #spencer reid fluff #spencer reid x yn #spencer reid x fem!reader #🍵 —☆ pia’s pages

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often-daydreaming · 2 months ago

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A Quick Chat

'Absolutely not!'

'I'm just gonna talk with him!'

Following the quickly escalating shouts down to the Batcave Bruce found Dick and a heavily armed Tim at each other's throats while their siblings oh so helpfully egged them on.

They were arguing about Wally and their last universal saving mission for some reason and Tim had nearly every contingency he could think of to handle a speedster on him.

-nna talk, that's it!'

'Then you can leave the gear here!'

'What's going on?'

All of his children froze, finally realizing he was here before they started shouting over each other.

'You remem-'

'-ick's trying to-'

'Father Dr-'

'-ng crazy, just because the universe re-'

'Enough!'

'Now, can someone tell me what's going on or do I have to get Alfred?'

And Jason was happy enough to tell him. 'Replacement's pissed because we finally discovered a pretty big difference with the universe after the League hit the reset button.'

Multiple screens on the Batcomputer held information on new heroes, a Junior JLD and everything Tim could dig up on two individuals. The first one was Phantom, a new addition to the Titans and had a number of detailed conspiracy theories tracking his appearances through time while the other held the detailed background information of a recently graduated Daniel James Fenton. Tim had dug up everything from his kindergarten grades to... Oh... Oh no... That explains why they were arguing about Wally.

Most of Daniel's latest online post covered his move to Gotham, his new job offer working in their engineering department and his new boyfriend Bernard. Looking at it all made it painfully easy to piece together that... 'They stole my life!'

And Dick and Tim were arguing again but Bruce knew it wouldn't get too heated and focused his attention on the gathered information. It was easy to see that a number of encounters his kids (mainly his oldest three) should have had with the Titans were adjusted just enough to fit Phantom now and Tim's involvement with the Children of Dionysus had been shifted around to involve Daniel in this new universe.

'-e universe reset doesn't mean you can ruin their lives. Phantom seems like a good kid.'

'Dowd would have left you eventually.'

Dick had to hold Tim back from launching himself at Damien while Jason and Steph stood by egging the two of them on, but then Tim got that look in his eye when Duke brought up the idea of reintroducing himself and everyone noticed.

'No.'

'Come on. Tim, you don't need another restraining order.'

'But it didn't happen in this universe so it doesn't count.'

'It counts if we still remember it!'

But Tim wasn't listening, too busy changing out of all of his gear as a plan quickly started forming together in his mind.

Why waste time with Wally when he can just as easily win over the new couple while ignoring everything else he's learned from his friends.

He'd figure it out one mess at a time. After he won Bernard back he'd figure out the situation between Red Robin and Phantom.

-_- -_- -_-

Reading over the sticky note Danny couldn't help but wonder what Clockwork meant when he wrote 'Have Fun'.

Again, I blame my medication for this, but this came from a couple of different prompts about Tim, Bernard and Danny and I just sort of went with it. Basically the main roster of the League has to stop (Pick a threat) and end up resitting the universe again. The problem is they still remember the old universe so they spend a week or two looking up any big changes and a sleep deprived Tim starts believing he barely knows Bernard in this universe when he's actually dating him and Danny. He just hasn't dug deep enough to figure out his own connection.

#dc x dp #dp x dc #dp x dc prompt #danny fenton #danny phantom #dp x dc crossover

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cassafrassie · 6 months ago

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the nerve - (also on ao3) length: 2,535 words rating: T (teenaged kissing)

This is the last time, the last time! Pacifica thinks as she's jumping into the passenger side of Dipper's beat-up old pickup. Next to her, Dipper slams his own door and quickly smacks the lock button, eyes scanning the forest beyond the wide windshield.

"I think we're clear," he says, before spinning to Pacifica excitedly. “Did you get a load of the size of that guy?!”

“I didn’t see much as I was a little busy running for my life!” Pacifica gasps, clutching her chest.

Dipper picks up his camera. “Oh man. This was a good one. I think I got some good shots,” he continues, flipping through the display.

“Dipper! He nearly killed us!”

“Oh Paz, we were fine,” he replies confidently, still looking at his pictures. “I wouldn’t let anything happen to you.” He looks up, reaches over and bops her on the nose, smearing more mud on her already dirty face.

The nerve.

Pacifica glares at him. He always gets like this after monster hunts. Dipper has a cocky streak that usually lies pretty dormant, but something about the shot of the adrenaline that he gets after narrow escapes makes it rise to the surface. At least that’s her theory. The worst part is that can’t pretend she totally hates it, even if it’s currently raising her hackles.

“I’m beginning to regret giving you that thing,” she says, gesturing to the camera.

“No you don’t.” He spins to her and points the lens in her direction. “Who else would take all those pictures of you for “the gram”?” he asks, a teasing lilt in his voice. He clicks the shutter and Pacifica is blinded by the quick flash.

She rolls her eyes and pushes the camera away, but lets a small smile play on her lips. That photo won’t see the light of day. She’ll make sure of that. Both she and Dipper are absolutely covered in forest filth, and she makes a mental note to swipe the memory card before he drops her off at home later.

Dipper grins, thinking he’s won this round, and reaches behind his truck’s bench seat to place the camera in the rear of the cab. Twisting back, he fiddles with his keys and the ignition until the old clunker finally turns over.

Pacifica lets her mind wander as he navigates them out of the clearing he parked in and back to the main road. Picking leaves from her hair while she watches the trees pass by her window, she wonders why it is that he only lets this side of him come out when they’re alone. Dipper has come a long way from the insecure prepubescent boy she met five years ago, but he’s still pretty reserved and serious in mixed company. When it’s just the two of them, or the two of them and Mabel, it’s like he lights up. He’s sillier, more relaxed, more outspoken, more… is heroic the right word?

And it does things to her, to say the least. And they’re going to have to talk about it soon, because she strongly suspects he’s been feeling… things… too.

She started noticing it when their afternoon monster hunts began turning into twilight strolls around the lake, the two teen’s fingers brushing up against one another as they circled it. When hugs of relief after narrowly escaping death for the umpteenth time began to linger just a little too long. When he grabbed her hand while helping her down a steep rock face, and then held it the whole way home.

She knows a confession is imminent. That he’ll address the shift, the obvious destination they have been barreling toward with increasing velocity.

And sometimes she lets herself fantasize— because why not? She’s a seventeen-year-old girl, isn’t she? She’s allowed to have her little daydreams. She indulges in visions of confessions in a meadow of shimmering flowers. Maybe she’s wearing a long gown that fluttered in the wind. Maybe he brings roses and rides up on a white stallion and sweeps her up and into his lap as the orchestra swells and the credits run and…

Okay yes, she’s getting carried away. So sue her.

She chances a glance at him now. His eyes are trained on the road, hands responsibly placed at ten and two on the steering wheel, easy smile playing on his lips. He must sense her watching him though, because his eyes suddenly dart over to meet hers.

She meets his gaze, gives him a small, reckless smile that clearly carries a secret meaning that they just haven’t put words to just yet. She expects to receive the same smile from him, just as she has so many times before—and especially recently—but instead he just studies her seriously, and she can see the gears spinning in his mind.

His mouth straightens into a determined line as his eyes snap back to the road. Without warning he twists the steering wheel to the right and Pacifica shrieks as he haphazardly directs the truck to a turnout overlooking the valley below. The truck bounces to a rough stop, and Pacifica snaps her head to look at him.

“What are you doing?” she gasps, more confused than angry.

He kills the engine, quickly unbuckles both their seatbelts and twists fully to face her. His cheeks are flushed, eyes focused. He honestly looks a little manic, Pacifica thinks.

Dipper takes a deep breath, closing his eyes. When he opens his them, he reaches a grime covered palm toward her equally dirty cheek. He smiles sweetly, and his palm cups her face, one thumb lightly tracing a path across her cheekbone.

“Paz,” he starts, smile broadening as he says her name. “There’s something I wanna tell you.”

Oh no. No, no, no, no, no. He was not seriously doing this right now! Not like this! Not covered in mud and leaves and god knows what else, crammed in the front seat of his dilapidated old truck on the side of the road, heartbeat just beginning to return to normal after escaping whatever grumpy cryptid that was that they had woken early from hibernation.

Is he freaking kidding me?!

She watches her hopes of horseback rides into the sunset dissolve in front of her eyes. Disintegrated by the sweat, foliage and mud coating them both.

“Dipper! Now?? I look terrible!”

“I think you look great!” he says and the worst, most terrible part is that she can tell he is being completely sincere.

“I’m covered in mud, Dipper.“

“Maybe I like it,” he smirks, a move that Pacifica knows he thinks is charming.

“You’re a freak,” she deadpans.

Dipper leans in closer, looks her right in the eyes.

“Your freak?” He smiles, hopefully.

Oh my god seriously? He’s such a sap.

Pacifica groans and rolls her eyes, but she also has to fight to keep the corners of her lips from tugging into a smile. She can feel for cheeks warming, and she knows he knows.

“I’m sorry, that doesn’t qualify as a response. You’ll have to use English,” he teases.

“Fine,” she drawls.

“Fine what?”

She is going to murder him. MURDER HIM.

“Oh you know what!”

“I really don’t Paz, did you have something important you wanted to tell me?”

She wants to slap that stupid grin off his face. Or kiss it.

“Dipper!” she whines.

“Hey I’m just trying to get clarity here!”

“Dipper if this is your way of asking a girl out then it’s no wonder you’ve never had a girlfriend before. You’re impossible,” she says crossing her arms and straightening her back.

“Okay okay,” he laughs, settling down. “I’m sorry.” He turns to her, smile sweeter, more earnest. “Let me start over.”

He untangles her crossed arms, grasping her hands with his free one. She feels a shiver at the way his one hand can hold both of hers. When did that happen? She stifles the distraction as she refocuses on what he’s saying.

“Pacifica. You’re one of my best friends,” he continues. “You’re smart, self-assured, funny, a huge dork”— Pacifica opens her mouth to protest but he puts a finger to her lips—“you are, and it’s one of my favorite things about you.”

She scoffs, but lets him continue, cheeks growing warmer.

“You’re the prettiest girl I’ve ever laid my eyes on, but that’s just the icing on the cake. Because the way I feel about you comes from so much more than that.” He takes a breath, rubs his thumb on her cheek once, and she melts a little. “Pacifica, I...“

Here it comes, she thinks. She gives him a small, encouraging smile, waiting to hear him say the words she’s been imagining in her daydreams, for him to confess that his “like” of her has turned into the special kind. The “like like” kind.

Pacifica figures maybe it’s okay that this is the way it happened. It’s more them. But still, she would have appreciated flowers maybe. She doesn't presume that his feelings for her run deep enough as to justify red roses, but pink maybe...

“…I’m in love with you.”

Wait. What?

Pacifica's brain struggles to rewind and playback, and she ends up just blinking at him for a moment.

“You’re in love with me?” she asks, and her voice sounds so terribly soft to her ears.

“Yeah,” Dipper confirms, face bright red beneath the dirt.

“You love me?” she repeats.

“Yes,” he says again, laughing a little, nervously. But he nevertheless moves his hand from her cheek down to circle the side of her throat, pushing his fingers into her hair.

“No one has ever loved me before,” she says, matter of fact.

“Oh Paz, your parents love you. I know they’re tough on you but I’m sure—“

“No. No I mean like the different kind of love. Like, the voluntary kind. When you don’t have to love someone, you just do. When it’s not because of blood, or because you want their life, or clothes, or ponies. When you just like them. No one has loved me like that.”

He studies her a beat.

“I do,” he says, finally, firmly, not breaking the eye contact. Not taking his hands from her.

Her head feels light, and she’s vaguely aware of that he cheeks are wet. But then she surges forward, and crashes her lips to his, because she can’t not. There’s a magnetic force pulling her in a way she can’t control.

Dipper’s lips are chapped and crusted in dirt, but they’re warm and his she immediately thinks that kissing him is about to be one of her favorite pastimes, and why did they wait so long to do this again?? Dipper responds to her kiss instantly, opening his mouth and seeking entry to hers, which she grants without hesitation. The hand in her hair ventures up to grasp at the back of her head, pushing their lips closer still, as his other wraps around her lower back and tugs her closer to him on the bench seat. Her own needy hands run up his chest to grab the lapels of his flannel, holding him to her as she shifts forward and up on to her knees, eventually ending up straddling his lap. Dipper moans into her mouth and his hands move to grasp her hips, but then he stops, pulls back slightly and takes in a sharp inhale of air, letting it out slowly in what appears to be a practiced attempt to calm himself down.

“You don’t know what you do to me, Paz,” he chuckles, finally, leaning his forehead on hers.

“I could do more,” she says softly, leaning in to kiss his cheek.

“I wouldn’t say no to that.” He leans back in his seat, arms loosen around her waist but not letting go. A smug smile plays on his lips. “I’m winning the romance game now, anyway. You gotta catch up.”

She senses a challenge here, which she knows he knows will always pique her interest. She arches an eyebrow.

“How so?”

“Well, I’m the one who said something first. In my book that means I’m leading you in romantic gestures.” He gives her a pointed look. “And confessions, too, actually. I might remind you.”

She laughs. “Okay, dork. I love you too. Even?”

“I mean technically I said I was in love with you. So, I still win.”

“Well I’m in love with you too, then!”

“No copy catting,” he says, grinning as his hands raise to her neck and he leans in.

Her giggles are muffled by his lips once again and she lets him push her back in the seat, tipping her backward until she pivots and is laying down with him hovering over her. He peppers her face with sloppy kisses and works his way down her neck, still a little grimy and sweaty, and Pacifica grins as she thinks that white stallions in springtime meadows might be overrated.

------

Later that night, Pacifica finds herself freshly showered and wearing some spare sweatpants of Mabel’s that she swiped while the latter is out at the movies with Candy and Grenda. She’s cuddled on the couch in the Mystery Shack’s living room, brand new boyfriend— also clean and smelling of mint and evergreen—next to her with a lazy arm stretched around her. She tugs up the blanket they share to her chin and tucks her face into the crook of his neck, kissing it lightly as Dipper begins stroking her hair.

“You know, the reason I’ve never had a girlfriend isn’t because I would suck at asking them out,” he says, after a while. “I happen to think I did pretty darn good here.”

“Settle down, Casanova, you got lucky this one time,” she mumbles, smiling into his neck.

He ignores this, persists in his point.

“You know the reason I haven’t had a girlfriend.” He says, turning so his lips brush the top of her head.

She does, but she wants him to say it. She looks up at him through her eyelashes. “Mmm?”

“Because I’ve only had eyes for one girl since I was fourteen.”

“And who was that?”

“Well I think you know her…”

“Oh?”

“Mhm… gorgeous, witty, bit of a brat…”

“She sounds great.”

“Yeah, she sure thinks so.”

“What stopped you from asking her out?”

“Well I wasn’t sure how she felt for a long time.”

“I bet she was crazy about you.”

“Oh yeah?”

“Yeah, she probably liked your courage, your heart, your smile, your cute floppy hair—“

A loud groan carries into the living room from the kitchen, and Stan strides into the room, making a beeline for the front door.

“Okay, you two have officially crossed over from sweet to gross. Let me know when the honeymoon phase is over, til then I’ll be somewhere where the air doesn’t cause my blood sugar to spike.”

The two teens freeze, then burst into laughter as soon as the door slams behind the old man.

Dipper turns Pacifica in his arms to face him.

“Well would you look at that. Now we have the house to ourselves,” he smirks.

“Look at that,” Pacifica agrees, grinning.

#dipper x pacifica #dipcifica #dipper and pacifica #gravity falls fanfiction #dipper pines #pacifica northwest #dippica #dipifica

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raayllum · 1 month ago

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Sometimes it hits just how tonally different The Dragon Prince is from virtually every other kids show on TV and I lose my mind. I'd argue something like Infinity Train gets closest with its emphasis on psychological horror and morality, or even Transformers: Prime (if you know, you know) with its severe focus on war (aka one of the more lowkey episodes is a main character having a suicide bomb forcibly strapped to their chest). Steven Universe Future and Jurassic World: Camp Cretaeceous/Chaos Theory are also probably honourable mentions.

All of these shows have mature content in them, which isn't different from more popular shows like Owl House, She-Ra, or even ATLA, but often times in aforementioned three that content is presented in lighter ways and/or interrupted by bathos (this is true for She-Ra in particular). Most of TOH's heaviness is reserved for S2 Hunter or S3 Luz; ATLA has some episodes that particularly emotionally heavy (The Southern Raiders, Zuko Alone, the Southern Air Temple) or are quite hitting in exploring themes of colonization (Imprisoned, City of Walls and Secrets, Northern Air Temple), but a good deal, I'd say even the majority, are also pretty fun shenanigans, too. To be clear as well, a lighter tone is not a Problem never mind a negative (ATLA has a very strong thematic point to its own about the sanctity of children and childhood amid the horrors of how imperialism strips it away), but it is a tonal difference.

And it's not as though TDP doesn't have episodes where there are fun shenanigans (Callum and Rayla's initial exploration of Xadia in 3x02 is nothing but fluff, Soren and Corvus are a more gay comedic duo in 6x02) but the series more or less operates like "What if every episode was The Southern Raiders?" due to its consistent emphasis on grief and morality. They use words like kill and death and murder all the time.

From the pilot / opening episodes

and to when characters are having breakdowns because they murdered someone (and we're still supposed to like them) or have done horrible things, with the show's heaviness ramping up particularly from S4 onwards.

When loved ones die (and the show has a body count of 20+ named characters who have died, six seasons in, some even being children) the show depicts mourning in all its stages and ugly glory. The sadness, the anger, the revenge, the desperation, shifting blame and cognitive dissonances, thinking you had moved on only for that wound (which never fully healed) to be ripped wide open again.

Characters get tortured by being electrocuted or having their blood frozen in their veins or beaten up (5x08). There are successful assassination attempts (1x03, 3x02). People, even children younger than the main cast of characters, are put on trial with the death penalty (4x06, 6x09). Within the first three episodes, a character is running down stairs and tripping over dead bodies.

Sometimes three different characters in one episode will be having a breakdown or dealing with something absolutely devastating to their emotional state (2x08, 3x07, 6x01, 6x09, 7x01). The magic system is a trolley problem on steroids. Do you kill a monster to feed starving kingdoms, or to save yourself, or to save someone you love? What makes it a monster? What if the monster isn't a monster? What if you have to kill a child? What if it means killing your child? What if it means killing yourself?

There are two characters who canonically have cannibalized other people, one being a blood-drinker / vampire variant.

This doesn't mean the show isn't fun or funny. One character consistently thinks bathroom humour is funny (while being one of the most tragic characters in the entire show). The characters cheer each other up, take care of each other, are goofy, etc. The show is ultimately hopeful.

But the emotional weight afforded to the choices the characters are making, even good-intentioned ones with unforeseen disastrous consequences, the way show focuses on their emotional processing (or lack of) is very unique in the landscape of western animation, especially to this degree, I think. Never mind the increasing amounts of blood. Nor does this make the show inappropriate for children! Tiny me was morbid as fuck at 7 years old, I would've loved it, and I know many kids from ages 7-12 who do in my work as a tutor. But when people say "TDP isn't like most kids shows," I think what that means is sometimes lost in translation in conflating it with what people usually say aren't 'just kids shows,' when TDP... really, really isn't.

The show begins with assassins sent by a grieving mother to execute a father and his child in revenge for the father killing her partner and child, and it never lets you forget it.

#tdp #the dragon prince #mine #analysis series #sort of #text post

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cassianfanclub · 1 year ago

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“This time, you sent the trembling fawn to find me. I did not expect to see those doe-eyes peering at me from across the world.”

Happy Elain Archeron Week Day 6: Fanged Beast

One of my absolute favorite theories in this fandom is that Elain will be able to traverse the murky realm, like the Mystics in HOSAB. @wingedblooms incredible mind connects details in a way most only dream of and has helped to further my excitement for Elain’s book and journey. You can find the two main theories that inspired this piece here and here.

The first time we see Elain peer across the world, she is doing so as a trembling fawn, but my hope is that, she will peer across worlds on her way to becoming a fanged beast and embrace that side of her in her own book.

In this piece, Elain has left behind Az and Bryce in Velaris, and stepped into the murky realm, only to be greeted by a waiting Apollion, mirroring Az. Apollion’s black eyes, deep and dark as the Pit in which he dwells- a telltale sign that his relaxed posture is nothing more than a trick to give a false sense of calm. But I have confidence Elain’s fangs and claws will get her back home.

A massive thank you to @luxury_banshee on IG for creating this piece for me💕

You can find this art on IG here

Please do not repost

@elainarcheronweek

#elain archeron week 2023 #pro elain #elain acheron #azriel shadowsinger #elriel #bryce quinlan #hofas theory #crescent city #acotar 5 #acotar fanart #fan art #acotar #maasverse #sarah j maas #seer #mystic #pro elriel #house of sky and breath

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flimsy-roost · 1 year ago

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I realized the other day that the reason I didn't watch much TV as a teenager (and why I'm only now catching up on late aughts/early teens media that I missed), is because I literally didn't understand how to use our TV. My parents got a new system, and it had three remotes with a Venn diagram of functions. If someone left the TV on an unfamiliar mode, I didn't know how to get back to where I wanted to be, so I just stopped watching TV on my own altogether.

I explained all this to my therapist, because I didn't know if this was more related to my then-unnoticed autism, or to my relationship with my parents at the time (we had issues less/unrelated to neurodivergency). She told me something interesting.

In children's autism assessments, a common test is to give them a straightforward task that they cannot reasonably perform, like opening an overtight jar. The "real" test is to see, when they realize that they cannot do it on their own, if they approach a caregiver for help. Children that do not seek help are more likely to be autistic than those that do.

This aligns with the compulsory independence I've noticed to be common in autistic adults, particularly articulated by those with lower support needs and/or who were evaluated later in life. It just genuinely does not occur to us to ask for help, to the point that we abandon many tasks that we could easily perform with minor assistance. I had assumed it was due to a shared common social trauma (ie bad experiences with asking for help in the past), but the fact that this trait is a childhood test metric hints at something deeper.

My therapist told me that the extremely pathologizing main theory is that this has something to do with theory of mind, that is doesn't occur to us that other people may have skills that we do not. I can't speak for my early childhood self, or for all autistic people, but I don't buy this. Even if I'm aware that someone else has knowledge that I do not (as with my parents understanding of our TV), asking for help still doesn't present itself as an option. Why?

My best guess, using only myself as a model, is due to the static wall of a communication barrier. I struggle a lot to make myself understood, to articulate the thing in my brain well enough that it will appear identically (or at least close enough) in somebody else's brain. I need to be actively aware of myself and my audience. I need to know the correct words, the correct sentence structure, and a close-enough tone, cadence, and body language. I need draft scripts to react to possible responses, because if I get caught too off guard, I may need several minutes to construct an appropriate response. In simple day-to-day interactions, I can get by okay. In a few very specific situations, I can excel. When given the opportunity, I can write more clearly than I am ever capable of speaking.

When I'm in a situation where I need help, I don't have many of my components of communication. I don't always know what my audience knows. I don't have sufficient vocabulary to explain what I need. I don't know what information is relevant to convey, and the order in which I should convey it. I don't often understand the degree of help I need, so I can come across inappropriately urgent or overly relaxed. I have no ability to preplan scripts because I don't even know the basic plot of the situation.

I can stumble though with one or two deficiencies, but if I'm missing too much, me and the potential helper become mutually unintelligible. I have learned the limits of what I can expect from myself, and it is conceptualized as a real and physical barrier. I am not a runner, so running a 5k tomorrow does not present itself as an option to me. In the same way, if I have subconscious knowledge that an interaction is beyond my capability, it does not present itself as an option to me. It's the minimum communication requirements that prevent me from asking for help, not anything to do with the concept of help itself.

Maybe. This is the theory of one person. I'm curious if anyone else vibes with this at all.

#actually autistic #autistic #audhd #neurodivergent #nd #long post #actuallyautistic

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praisetheaxolotl · 4 months ago

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The Arsonist Theory, Part 1: Mandibles!

Eight years ago, a few weeks shy of the day itself, I wrote something called The Arsonist Theory. It was my last theory post before making this blog, and looking back, it was disorganized, and I could have presented it better.

So, with new evidence, I'm doing just that.

The core of the theory is this: You don't blame the arson itself for a fire. You blame the arsonist that set the fire in the first place. There is a secret third piece of the puzzle here- not the act of arson, not the fire itself, but something more.

Therefore, consider this: Bill was not the sole perpetrator of the Euclidean Massacre. Rather, he was a weapon used to commit it.

Like the original, this will be a four-part theory, just to make it more digestible. I'll refer back to the original on occasion, but most of it will be new information.

Oh, and-

MAJOR, MAJOR SPOILERS FOR THE BOOK OF BILL UNDER THE CUT. THIS INCLUDES THE TEXT ITSELF AND SOLUTIONS TO CIPHERS.

With that out of the way, let's go.

In another post, I mentioned that the specific wording of "Saw his own dimension burn" having a very passive connotation to it, plus parts of the glitched page, shown here- make it incredibly likely, if not certain, that the massacre was an accident on Bill's part.

Bill's main intention was to show everyone what he had seen all along-- show them that he wasn't crazy. But that's not what happened.

Also, just as an aside- part three of the original theory has some examples of exact wording being a thing to pay attention to in matters surrounding Bill. It mostly concerns his deals with others, but in a Doylist sense, it tells us: exact wording is important with this character, so pay attention.

But let's put a pin in that for a second.

On the page teaching us how to trick everyone into loving us, there's a portion about conversation topics:

The cipher in the candy heart says "LIES," by the way, and it's the only cipher on the page- immediately setting this portion apart from all the others. Bill says here that one conversation topic on a date-- while meeting someone-- is the very specific term, "mandibles."

Say, where have I seen that recently?

Huh... that's interesting! What a specific word to come up twice, in these specific contexts! Remember what I said about exact wording? Sure you do, you have a very good memory, I admire that about you!

But that's not everything I noticed.

All that glitching? You can actually see text peeking out at certain points. And what does that text say?

"Nice to meet ya!"

Over and over and over again.

There's nothing else in my mind that can make this make sense to me. There was someone else there. He met up with someone.

But that's not all- I still have three more posts of evidence to write.

Check back here for links to them- they should all come out within the next day or two, and I'm gunning for all of it to be out before the countdown on thisisnotawebsitedotcom hits zero.

Part 2: We get it, the billboard is a metaphor

Part 3: Journey To The Vicious Spiral Nebula

Part 4: Blame The Arson, Not The Fire

#bill cipher #the book of bill #bob spoilers #tbob spoilers #gravity falls theory #gravity falls #gravity falls meta #someone: who tf writes a metapost at 4 in the morning #my ass: OH BOY 4AM!!!! *opens tumblr*#anyway yeah! more 2 come 2morrow!

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arolesbianism · 8 months ago

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Sigh. Why must you have died Aris, now I have to actually think abt what your abilities are instead of just sweeping it under the rug and calling it good enough

#rat rambles #eternal gales #like I do have stuff in mind but Ive been needing to flesh it out a bit more even if it doesnt rly come up much #basically shed the other side of the information translation coin that is tali #tali translates information into smth readable to people and aris translates information into smth usuable for a universe's purposes #im theory anyways aris doesnt actually get that much use out of that stuff since she only died once or twice #tali also only died once or twice but she had her connection to her role amplified by the whole scar debacle #if youve seen the blue string stuff in my eg art before then thats the stuff put in her face and eye #its basically just smth the narrator uses to gather and transfer information from different universes #so tali got tapped into that a lot more forcefully than most tali's in ither universes are #aris on the other hand mostly has her abilities expressed in a lot less immediately noticable ways #mostly just in her far too late newfound immunity to The Goop™#most of the others never rly directly get to use their theoretical abilities due to the fact they never die lol #bloom did die tho so congrats girlie you get to finish off the information triangle #she acts as the data storage itself 👍#great ability for a nine year old who just bled out and died #the others abilities get to be seen in their au counterparts at least #au snek being the most in your face one in that regard due to having died the most by a longshot #most of the others died only a handful of times with mostly no physical alterations from their abilities #au snek can still appear mostly normal but she always has splits between different sections of skin from when she is in meat snake mode #most of the others physical alterations are either just general universe chanres or aren't directly from their abilities #such as owl being all goopy from eating her original universe and au aris being all goopy because thats how she died #the goop™ is basically just a defense mechanism of the universe core btw #anyways au mase looks all edgy and shit because hes storing a shit ton of ppl in him #and then au fydd tali and bloom all just look different from being different agaes and going through different shit #au fydd is abt 15 au tali is abt 18 and au bloom is somewhere in her mid 30s #au sier is also around 18 and au aris is 14 #au mase and snek get to be the odd ones out as the only two who are the same ages as their main universe counterparts #I should rly get around to actually drawing all the au antags sometime soon its been like 5 or so years they desperately need drawn #I technically did draw them way Way back but that was all the crusty dusty original versions of them

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anachronismstellar · 24 days ago

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DOES SQH SLEEP WITH WITH A MONK PEAK LORD???

IT'S CALLED SQH GOTTA GET THEM ALL, MY FRIEND, OF COURSE HE DOES

Sorry it took me so long, had to do a bit of research that turned out to be a lot of research BUT HERE YOU GO

I got the name Gao Qinggao from the amazing 00janeblonde and their FAQ of their fic here

Heads up for me bullshiting a lot of things Airplane style lol

Also bondage and praise kink?

I hope y'all like it!

---------

Ku Xing Peak wasn't one of the most prestigious among its siblings, far from it. If one compared it to the beauty of Qing Jing, the forests of the Scholary Mountain would be greener than emeralds. Or if one searched for riches and luxury, they would have better luck going to Xian Shu Peak, Qi Qingqi sparing no coin to accommodate her disciples.

But if they were allowed to take pride in something, it would be their talismans. From the most basic trick like heating water to the most intricate barriers and bindings, their work had been a reference throughout the cultivation world. If there was a talisman, they would have been involved in either its creation or its improvement.

So imagine what a surprise it was to see the An Ding Peak Lord using talismans Gao Qinggao had never seen before.

First, he thought it was an artifact. Shang-Shixiong was close friends with higher peaks, thus being able to pull favors and acquire relics he would never dream to see. The problem with that theory is that he had seen his own surprised mirrored on Shen Qingqiu's and Zhangmen-Shixiong faces as Shang Qinghua took a folded paper from his sleeve and pressed it into the table. It grew in size until it occupied the entire top of it with a huge map, detailed descriptions of the regions, and topography showing next to the main locations. It would be difficult, and it would take a lot of effort, but this effect could be done with a mixture of talismans after modifying certain radicals.

What made him pause was that, during their talk Mu-Shixiong asked about a specific place and Shang-Shixiong just put his both hands over it, dragging them away from each other making the map focus more and more until they could see the vegetation and when they were finished Shang-Shixiong dragged his hands again but closer, making the map to go back to it's original level of detail.

That would be mixing two types of talismans that shouldn't work together, you can't have one without nullifying the other and-

Gao Qinggao was intrigued.

The technique was interesting, yes, but it wasn't his area of expertise. He had always been a more practical person, focusing his studies on suppression of energy and Qi restoration. Meaning, he could just brush it off and send one of his disciples to ask about it later.

But the fact that he could just ask and understand was a compelling argument.

"Shixiong used a very unique technique today at the meeting. I had never seen someone use talismans to make images show up like that," he approached the other when he had finally left Shen Qingqiu's side. "This one is very interested in learning how Shang-Shixiong did that."

"Oh er," Shang Qinghua blinked, fiddling with the folded paper on his hand before hiding it away. "This little thing? Uh. I don't know if- Uh, I don't know the technique, I just found it- yea! I found it in ah. Oh I don't remember but-"

"Oh?" He wouldn't deny he was a bit disappointed, but not surprised. "Do you mind if I borrow it for research? I've never seen talismans interacting like that, I know some disciples that would be delighted to see it as well."

Shang-Shixiong started to fidget, picking on his sleeve where the paper had been hidden, looking everywhere, but Gao Qinggao.

"I'd love to, really, but this is kinda vital for my peak? I'm afraid I can't lend it. It has got all the trading information and our suppliers, I can't risk it."

"I understand. Would Shixiong allow one of my disciples to go to An Ding to examine it then?"

"I'm afraid the information is too sensitive to be examined by someone outside Lord ranking and-"

Ah. He almost heard the sound of a coin dropping.

He was a bit younger than the others, coming to his position by an urgency of appointing someone to fill his master's place. Not to say he wasn't competent, far from it, but he was aware that his situation and age made the other peak lords underestimate him, or dismiss his opinion when the topic diverted from talismans.

Another disadvantage of his age: he hadn't had the time to mellow down; to reign his fury as expected from a monk. He was no Liu Qingge, of course, but with enough pressure...

"This one apologies for bothering Shang-Shixiong." He spit through clenched teeth, making a point of leaving without a bow, his breathing so labored that one could hear it all the way from the demon realm.

How dared Shang Qinghua hide this knowledge from him?! From his peak?! And what was the point of hiding it anyway? Wouldn't be wise to share it so they could improve it?

Maybe Shang Qinghua was using something forbidden. But there were layers upon layers of protective arrays in the meeting room. The smallest fizzle of demon energy would set off the alarms.

So there must be another reason for Shang-Shixiong to not let him at least look at the desing. Could it be- No.

Did Shang Qinghua think he couldn't learn it?

Ooooh, that just made him more furious.

It might be difficult, but now that Gao Qinggao knew it was possible, he would be able to replicate somehow. His Head disciple could handle the next weeks by themselves, he would grab all the books and parchments they had about redimensioning images, also the ones they had about crystal mirrors and how they were made.

Then he would rub it off Shang Qinghua's face. And maybe spend two weeks in inertia to balance all the spite and anger he was feeling.

---------

It didn't work.

Gao Qinggao laid on his private quarters with piles of papers around him, some crumbled up, others torn into pieces. Blessed be the Heavens that he had never minded being under inertia for long periods of time, because he couldn't remember the last time he ate.

Every single attempt he had made, failed.

Not for his lack of knowledge, he could see where the logic behind it, but it was if the structure kept dancing in front of him, fluttering away like a bird as soon as he reached to grasp it.

Where in all realms had Shang Qinghua found this technique?! Maybe in the Demon Realm? But none of the books that they collected from there had anything like it.

To put it mildly, he was furious.

He was starting to consider that Shang Qinghua was the one who wrote it, and his handwriting was so atrocious he created something without intention. The problem with this is that one, he hadn't seen the talisman close enough to see if it was Shang-Shixiong's handwriting. Second, it was impossible for him to have created it accidentally, the amount of contradictions and spells that had to be put on the paper, on top of using the right ink for it...

He just needed to look at it. Just to look to have a direction to where to start.

He put everything away and stood up, dusting his clothes, calling for a bath even though it was the middle of the night.

He was going to An Ding.

----

"You are a good person, and you will be an amazing Lord, Gao Qinggao," his old master said while passing the Peak Lord robes to him, the soft brown and gray so plain one wouldn't recognize him as a high cultivator outside the Peaks. "Just promise me you will work on your temper."

And he had promised, with heavy heart and aware that would be an ever losing task. He had done his best over the years and had made progress.

But not enough it seemed.

"I have all night, Shidi, and we know I'm more patient than you."

Gao Qinggao ignored the voice across the room, testing the bindings around his wrist as he controlled his breathing. When he had flew to An Ding and tried to sneak inside Shang-Shixiong's house, he wasn't exactly thinking. All he could remember was his blood boiling, eyes seeing red while his mind kept going on and on and on that he was doing this for the good of the Sect, that Shang-Shixiong was the one in the wrong for keeping secrets, that he was just going to look that's all.

He failed to consider that a man with secrets like Shang Qinghua wouldn't survive this long if he weren't good at keeping other people away.

"Shidi," Shang Qinghua gave him a tired sigh that Qinggao ignored to focus on more important things such as at least getting his hands free. "If Shidi doesn't talk to me, I have no way to help you."

He kept his mouth shut. To be honest he didn't even know what to say. He had no plan, he just wanted to take a look at the map! Frustration burned his face red, showing up in blotches that went all the way up his shaved head.

"Very well, Shidi. Let's do it your way then."

He glanced at Shang Qinghua, but a second later the other peak lord left his line of sight. There was the sound of a chair dragging through the floor, then callous fingers grabbed both of his wrists, the thumb pressing against his pulse.

It was as if Shang Qinghua had dropped snow water down his spine, the array drawn on the ground shinning for a second or two before the was released. He felt his body sag, his quick reflexes barely saving him from falling on his face.

"Now, Shidi, this is a very simple array, one that you know very well, I believe," Shang Qinghua dragged the chair again, this time sitting in front of Gao Qinggao, elbows on his thighs, the low light playing shadows on his face, turning his expression somber.

Gao Qinggao couldn't help but shiver, dread tickling down his neck and chest, realizing that he might have entered the tiger's den. And once more, he was hit with a mix of feelings towards the other man. He couldn't help the anger bubbling under his skin, forcing him to slam the barrier with his open hand, all in vain. But at the same time-

At the same time.

His mouth felt dryer than a desert. He exposed like an open wound as Shang Qinghua stared at him up and down and then up again, the usual bubbly and warm expression nowhere to be seen. No, that face he had seen only a handful of times, either when the Sect Leader was about to do something stupid to protect Shen Qingqiu, or when the peak lords were not behaving during peak meetings.

To be under the entire focus of it felt as if the rest of the world grew quieter, a little darker, the lights clinging to Shang Qinghua as if he were glowing with unreleased power.

"A simple truth array, but I bound you to it, so you may not leave." Shang Qinghua's low voice reverberated in the tiny room, their faces separated only by the shimmery wall. "As you have decided to be difficult, I have decided it was time for you to be a bit more truthful."

"How dare you demand truths when you are the one holding back secrets!" He couldn't help but shout, unable to hold back in face of such hypocrisy.

Like clouds parting after heavy rain, Shang Qinghua’s face relaxed, his whole posture softening up to his usual friendly self. He groaned, his deep sleepy voice waking up something in Gao Qinggao's belly, making him blush for another reason entirely.

"Oh Gao-shidi," he kept his voice down, followed by a chuckle. "Is this still about the map?"

His amusement only fanned the ember of his anger, making it burn brighter. How dare Shang Qinghua mock him? How dare he laugh at him like a cruel demon trapping Gao Qinggao and treating him like a play thing?

"Of course it is! You denied my single request for you while raining gifts to all the other lords! I'm tired of bland favoritism, my peak and I might live a frugal life, but aren't we also requested to share our precious knowledge?!"

He had been so worked up he didn't realize the moment Shang Qinghua shifted his feet, ready to pounce, releasing the array but grabbing Gao Qinggao hands once more, twisting his arms to bind them against his chest.

"You're a feisty one, I've forgotten that," he commented as he slowly lowered Qinggao on the floor, making him kneel, the sound of paper followed by the dry sensation of it on his legs making him flinch. He struggled for a few moments, giving up as soon as Shang Qinghua gave him another chuckle.

He was truly trapped.

"Tell me shidi, what is upsetting you? The fact that you were denied something you took for granted as yours or the fact that you haven't been praised for your contributions to the Sect?"

He was rendered speechless, the fire in his belly almost an inferno, his breath picking up but not in anger. He couldn't hold back a gasp, shame and desire clashed upon him as he felt stripped naked by how easily Shang-Shixiong had seen him.

"Is that it then? Praise?" Shang Qinghua started to walk around him, humming as he touched the back of his robes, fixing the sleeve that had slipped down his shoulder, inked fingers brushing over his clavicle. "Gao-shidi has been so good for us. So kind to share his talents."

He felt paralyzed, hands closed in a tight fist, desperate to cover his face, to hide his shame, unable to move. He was pinned down by burning brown eyes, the light reflecting on them, turning them into gold. It had been years, so many years since he had felt so stricken by desire. And to be hit full force with his sultry voice was- was unexpected, that's all!

"This Shixiong apologies for denying your request. You've been one of the most valuable resources for our Sect, you should be told how good you have been."

"W-What?"

"You're such a good craftsman, Gao-shidi, your talismans are without flaws. I can release you and show you a few of my own."

He didn't mean for the low soft "Please" to leave his mouth, not even sure anymore of what he was asking for. Yes he desperatly wanted to see the talismans, but he was also desperate to feel Shang-Shixiong touch him, somewhere, anywhere, just to do something, take responsibility for setting off this fire on him!

"... Unless you prefer to stay like that?" Shang Qinghua's asked as he touched Gao Qinggao's cheek, brushing his fingers along his jaw so he could tilt Qinggao's face up. "Bound by talismans you can't break?"

"Oh heavens-" he moaned, truly moaned as he closed his eyes, wishing for any Gods that might hear him to swallow him whole when he noticed the damp spot on his pants.

"It's okay shidi," Shang Qinghua's hands went down his neck, fingers brushing the sensitive skin of his shoulders, sliding under his robes. "We can work on your patience as we go."

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

do I feel slightly blasphemous for writing this? Yes

Do I believe that this is what Airplane would have wanted? Abso-fucking-lutely

And as we can see I'm upping my rating as we go fjsbskdnskfm not full explicit but maybe,,,,,,,,,,,, who knows

Thank you so much for the ask and for giving this a read!! :D

Here is the masterpost of this insane AU asdhfiusdh

6/12 peak lords, Wine Peak here I gooooo!

#scum villian self saving system #svsss #sqh 12/12 achievement #sqh gotta catch them all #shang qinghua #Gao Qinggao #how many times did I blush while writing this? yes #LISTEN I WAS NOT EXPECTING THE PRAISE KINK EITHER #oh heavens #ANYWAY

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linkspooky · 4 months ago

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TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

#mha 428 #mha spoilers #mha 428 spoilers #mha meta #mha critical #uraraka ochako #uraraka #toga himiko #toga #togachako #faith #buffy summers #faith lehane #fuffy

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lu-is-not-ok · 18 days ago

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two in one theory... i am listening very intently if you ever feel up to share it!!

Alright, so this is gonna be... as close to an Abridged explanation of the theory as I can make, because if I went off on everything about it I would end up writing a whole dissertation or five hour video essay script on this shit.

There are gonna be three main sections to this post - Hong Lu's Daiyuisms, Hong Lu's Themes of Identity and how that connects to the concept of Two in One, and the Daiyu-Baoyu theory itself.

Strap in folks.

Hong Lu's Daiyuisms

If you know anything about my theories in the earlier days of Limbus, you might know that I'm one of the very few people who was convinced Hong Lu is actually Daiyu, due to some evidence I found personally compelling. This has not changed, as we've only gotten just as much extra evidence to this as we have to him being Baoyu. So let me just speedrun through some of these points.

The Fucking Jade Eye

Ok hear me out. This is maybe the least important piece of evidence but I can never stop thinking about it. Hong Lu's jade eye? Not actually fully blue! If you look closely on most of his sprites, you can see that he actually has sectoral heterochromia, meaning his jade eye is both blue and black.

Daiyu's name, quite literally, translates to blue-black jade.

Now, you could claim that this is merely meant to be an easter egg reference to her, but... is that really Project Moon's style? After all, when people speculated on Don Quixote being Sancho or a Bloodfiend partially based on her appearance all the way back since near launch, they turned out to be right.

Hong Lu's Father

As of now, there is only one instance of Hong Lu referencing his Father in Limbus, and it's a voiceline from his Base Identity:

Now, if you know anything about DOTRC, this should already be raising some flags, because if Hong Lu was just Baoyu, he would not fucking talk like that about his Father.

In the book, Baoyu is consistently shown to be afraid of his Father, for a good reason mind you, as he's his main abuser. Baoyu would not be looking forward to introducing his friends to that man.

Even if Hong Lu was trying to downplay the abuse he's recieved, this would still not fit his pattern of behavior. When topics that genuinely bother Hong Lu come up, such as what could make him distort or how rich people would enjoy gifts made of humans, he immediately pivots and tries to avoid the topic at all cost. He would not bring up his main abuser in such a lighthearted manner, he would avoid bringing him up at all cost.

However, there is a character in DOTRC which does in fact have a more positive relationship to her Father, and would likely be the one with an opinion such as that - Daiyu. Daiyu loves her Father, and when he dies she completely disappears from the story for a bit to attend his funeral. If there was anyone who would be excited to introduce their friends to their Father, it'd be Daiyu.

Lasso Hong Lu's Corrosion

I made a whole seperate post about this, but I might as well mention it here as well for the sake of completion. The design choices made for Hong Lu which are missing for Faust are very, very Daiyu-coded.

For one, not only does Hong Lu completely turn into a flower, unlike Faust, his horse also gains a flower in its mouth. For those whose knowledge of DOTRC is zero to none, Daiyu is a reincarnation of a Flower given sentience due to being watered by the Jade. I don't think I have to be the one to connect the dots between those two pieces of info for you.

The second is how the halters become a noose for Hong Lu. This, too, is a very Daiyu thing - Rose Hunter as an Abnormality represents the inability to escape one's fate, and Daiyu's fate is to die - the Jia Family arranging a marriage between Baoyu and Baochai leads to Daiyu falling deathly ill, which in itself could be considered a part of her repaying her Debt of Tears - the debt she swore to repay to the Jade/Baoyu when she was still a Flower.

The hilarity of the fact that this E.G.O came out in the same update as Hong Lu being called Baoyu in-story is not lost on me.

Rose Sign Abnormality Log

The third Log for Rose Sign ends in a very peculiar way.

There's multiple ways one can tie Hong Lu's odd reluctance to talk about flowers and the petals. One is the obvious "he's being reminded of Daiyu because she was a Flower" connection, but there's another one.

One of the most commonly potrayed images of Daiyu relates to a scene in DOTRC where she buries fallen flower petals, weeping for and lamenting the mortality of the flowers and herself. Hong Lu's reaction here to his fellow Sinners being reduced to nothing but petals upon Rose Sign's death feels like a notable parallel to Daiyu's flower burial scene.

Like literally everything about Kurokumo Hong Lu

The title for this is a bit of an exaggeration, but at the same time. I'm serious. Kurokumo Hong Lu is perhaps the most Daiyu Identity out of all the Hong Lu Identities we have, and the way he is designed to stand out among them further makes me go insane.

Kurokumo Hong Lu's most defining trait is his attitude - he often complains about his position and how authority treats him, though he doesn't really act out against them in any major way outside of making snarky or sarcastic remarks.

This is, frankly, an extremely Daiyu thing to do. Daiyu is one of the few characters who audibly complains about her treatment in the household. For example she complains about not being given as many opportunities to show off her poetry skills as her male peers are, and she recognises how, when all the girls in the family are given flowers, she's the last one to recieve them and thus is stripped of the ability to pick, being only given the leftovers.

Then there's the whole. Everything about Kurokumo Hong Lu's visual design. Because once you realize just how Daiyu-like the Identity is, you realize just how weird he is compared to other Hong Lu Identities. I mean just look how he compares to his other Identities.

He's the only Hong Lu Identity with a blue tint to his hair in the combat sprite rather than the usual purple.

He's the only Hong Lu Identity whose hairtie is a ribbon rather than a jade ring (Liu Hong Lu technically has the ribbon in his post-uptie art, but he doesn't have it in his combat sprite so I'm not counting him).

He's the only Hong Lu Identity to not be smiling in his combat sprites.

And he's the only Hong Lu Identity (and one of only four Identities in the game) whose Idle sprite has its body facing away from the opponent rather than facing towards them.

All of those combine to make him stand out like a sore thumb in a Hong Lu Identity lineup in a way that makes it feel intentional, especially since he's also the only Hong Lu Identity with that kind of notable attitude towards authority. Other Hong Lu Identities are either obedient, don't express any opinion, or just straight up are the authority.

The Baoyu reveal is framed in a very weird way

This is, admittedly, less of a Daiyuism and more of a not-Baoyuism, but I thought it'd be important to mention nonetheless.

There are a lot of things about Canto 7's reveal of Hong Lu's name being Baoyu that are very strange, especially compared to how the Canto frames Don Quixote's own reveal of actually being Sancho.

For one, the timing itself - why is such an important piece of info being revealed so early? Again, compare to Donqui - she was revealed to be a Bloodfiend in the Intervallo right before Canto 7, and the Sancho reveal only came in the second half of the Canto.

For two, the framing - Donqui's reveals are treated as what they are, Major Reveals. The Baoyu reveal on the other hand happens in a single off-handed line, with nobody reacting to it in any way. Neither Hong Lu nor the other Sinners seem to hear it after all.

And mind you, it's not like Limbus is opposed to giving us important information in off-handed lines - far from it in fact. Project Moon loves shoving little bits of foreshadowing and reveals you don't realize are reveals until way later in these kinds of off-handed lines. But the way those lines are treated is still very different to how the Baoyu reveal is treated.

Usually, when there's foreshadowing in off-handed lines, it's usually either vague enough to be something a character could say regardless of context (see Yi Sang getting hung up on the Sedatives bit in Canto 2 or Ishmael's comment about Syndicates pretending to be Families foreshadowing her own history with the Middle via Queequeg) or something that is in the middle of a scene that distracts from what is actually being said (like Hong Lu's distortion foreshadowing being in the middle of an important infodump or most of everything in Canto 2 being surrounded by a comedic tone).

None of this is present for the Baoyu reveal. There's nothing to distract you from this information, as the scene is already focused on discussing Hong Lu, meaning you're already likely to be paying attention to what is being said about him. There's also no vagueness about it, there's no way you can brush it off since not only are Wei and Xichun newly introduced characters, but it's a whole ass clearcut namedrop.

The only way I can justify that reveal being there in the form it takes is that it in itself is the distraction. Think about it. Didn't I point it out earlier that this reveal came in the same update as the E.G.O with an extremely Daiyu-coded corrosion design? Wouldn't it make sense for that reveal to be there to lower your guard, make you think you resolved that mystery, only to later on reveal it wasn't the whole story after all?

Hong Lu's Themes of Identity

So this section is a bit more vague than the Daiyuism section, because Hong Lu is the type of guy to just Say Shit all the time. It's basically just. Anything that I find relevant to the idea of Hong Lu's Identity being more complex than him just being a random guy using a pseudonym, with some (but maybe not all) of them directly tying to the idea of Two in One.

"Which one is the real you?"

There are currently two seperate scenes where Hong Lu muses on the idea of someone's identity being in some way vague or obscured.

Is Dante the person or the clock? Is the dreamer the one in the dream or the one who wakes from it? Which you is the real you? Does it even matter if that you will flutter away in the end?

This idea of there being one true self. That even if there are two, there is only one of them that is actually you. Curious, right?

Face-changing dance

During the Canto 2 scene where everyone gives their reasons for whether or not they'd be a good pick for being the one to dance, Hong Lu says this.

Bian lian is a kind of dance literally translated as "face-changing". It involves rapid changes between various masks and make-up to represent different emotions or characters.

Now, it's no secret that Hong Lu is a great actor, as we see in Canto 4, and Canto 7 shows how the comparison to theatre and actors can be used to symbolize one's performance of identity, as it does for Sancho and her Don Quixote persona.

Mind you, this reveal comes in the same scene as Sinclair's dance invoking the image of a bonfire burning all through the night according to the Mariachis, a clear foreshadowing to Canto 3 and the Literal burning down of Sinclair's home.

Hong Lu knowing bian lian could be further foreshadowing to his own skills in deception, and how he too is a sort of actor, not unlike Don Quixote. On the other hand however, it could also be a more literal foreshadowing, that he (Baoyu) Quite Literally changed his face. We won't know until Canto 8, but it is an option you know.

The HamHamPangPang dish(es)

For those who don't know, here is a list of the Sinner-themed dishes that were available at HamHamPangPang.

Now, chances are, not all of them have deep meanings. I don't think there's much of a deep meaning to Heathcliff and Ishmael's dishes, I think PJM just legit don't know much about British/American cuisine so they just picked something recogniseable.

However, not all of them are meaningless picks either. Ryoshu, likely a mother, has a meal literally called "parent-and-child donburi". Don Quixote, a Bloodfiend, has a garlic-based dish. These were clearly done on purpose.

So, what does it say that Hong Lu's dish is actually two different dishes? That he's the only one whose dish is two different dishes? And it's not like the two are in some way inherently connected, since they're of completely different cuisines. Japchae is a Korean dish, not Chinese like the Mandarin rolls.

And just in case you weren't convinced that Hong Lu's choice of dishes is purposeful - another name for Mandarin rolls is flower buns, and one of the special occasions japchae is commonly served for is weddings. If you had read through the Daiyuisms section and somehow have no idea what the significance of that is, I don't know what to tell you.

The Daiyu-Baoyu Theory (finally)

So. I gave some evidence for why I think Hong Lu could still be Daiyu despite being revealed as Baoyu. I gave some evidence for why I think Hong Lu could be a Two in One deal, or that at the very least there's something more complex going on with his identity. But let's discuss the theory itself, how it would recontextualize certain things, and why I think it's an extremely fitting an thematically resonant direction for Hong Lu's Canto to go in.

The Theory

Here's what I speculate is going on.

Daiyu, just like in DOTRC, is someone who was taken in into the Jia Household rather than born in it, and who strongly connected with Baoyu upon meeting him. The two would end up forming a bond strong enough that they would be willing to die for one another (or, if they're in particularly argumentative moods, to kill themselves just to force the other to have to live a long life grieving over them - this is an actual argument they have in DOTRC and I pray to god this is adapted into Limbus because it's too fucking funny).

At some point, Baoyu either dies or is brought to near death, likely through the same circumstances as in DOTRC - being beaten by his Father. To save him, his memories and consciousness would be transferred to his eye, a process not dissimilar to the one Xichun brings up in Canto 7, and implanted into Daiyu's body, causing them to become a vessel for Baoyu. This would be how Hong Lu as he is now is created.

All of the above is the main basis for this theory. Everything else that I might speculate about, such as the exact nature of the two's relationship, Daiyu's more exact background and personality, how their pre-reincarnation lives could be adapted - all of those are things that are purely speculative and ones that I don't really expect to be actually fulfilled. The only bits that I am sure are likely to be true is what I laid out above.

So... what does it all mean for the future? I'm glad you asked!

The Recontextualization

Here's a collection of just a couple of things that Hong Lu has said or is depicted as that would be heavily recontextualized if this theory ends up being true.

Hong Lu surviving despite claiming he didn't fight back when his siblings first tried to kill him: With the context that he used to be two seperate people, the answer to how he survived is made very simple. Baoyu is the one who wasn't fighting back. Daiyu, however, could have still protected him in turn.

The red ribbon on Hong Lu's weapon: There is only one other Sinner who has a similar decoration on their weapon - Ryoshu, who also has a red ribbon on her sword, which could be easily connected to Yuzuki and her death. With the context of Hong Lu being Baoyu occupying Daiyu's body and thus effectively rendering their self non-existent, the red ribbon could be a parallel symbol - a symbol of Daiyu and their 'death'.

How Hong Lu treats his weapon in his base E.G.O: The way Hong Lu holds his weapon in the illustration is more like he's cradling another person. This could be a representation of how he feels about Daiyu's situation. Likewise, in the attack animation, he's not really attacking with the weapon itself, is he? He's simply using it to direct a ribbon (which in itself is missing in the illustration), the part that is actually the attack. If the weapon in the base E.G.O represents Daiyu, this could be a parallel to how Baoyu feels like he's merely directing Daiyu's body to attack, rather than being the one actually attacking.

The duality of Hong Lu IDs: There is a notable pattern among Hong Lu IDs, and that is the focus on his attitude to violence. When he's in a situation where he's obedient towards his Family, he's either uninterested in violence, bored of it, or otherwise given no other choice but to use it as a reprieve from boredom. However, when he's in a situation where he's disconnected from his Family or otherwise questioning the status quo, he's shown to not only be much more aggressive and violent, but to outright enjoy it. With the context of Hong Lu being composed of two people, this duality could represent each of his components - the obedient and violence-averse being more Baoyu-like, while the questioning and violence-favoring being more Daiyu-like.

So, there's a bunch of stuff that would be given new meaning under the premise of this theory being true. But now, what about the future? What would this theory mean for the themes and ending of Canto 8?

The Resolution

I believe this is how the Daiyu-Baoyu theory will affect Canto 8.

At some point, whether before or during the Canto, it will be revealed that Hong Lu is both Daiyu and Baoyu. There will be an attempt to seperate the two, perhaps to implant Baoyu into a more fitting, more Jia Family-approved Vessel. Perhaps because the 'arranged marriage' from DOTRC could be adapted into something more... let's say Fear and Hunger kind of marriage rather than traditional marriage.

This will leave Hong Lu to be returned to their state as Daiyu, who will be revealed to be a very different person to what the Sinners knew Hong Lu as. There is a non-zero chance that Daiyu will be unable to hear Dante or be revived by them due to the one who signed the contract being Baoyu, and so they could end up acting as an uncontrollable ally unit not unlike Xichun in Canto 7.

The climax would then be Daiyu and Baoyu reuniting and being unwilling to part with each other again, even for the sake of returning to being the fake persona that is Hong Lu, leading to a potential duo boss fight/distortion boss fight/duo distortion boss fight.

The ending would be the two of them deciding to embrace their new identity as Hong Lu and truly becoming one, discarding their pasts and the selves that had been forced on them by the Jia Family. This ending would have a twofold meaning regarding how it connects to the DOTRC adaptation.

One - it would be a direct parallel to the ending of DOTRC where Baoyu leaves to become a monk. By becoming Hong Lu and discaring his previous identities, he'd be leaving behind the earthly attachments inherent to being Baoyu and Daiyu and become spiritually whole.

Two - it would be a reflection of the major theme of DOTRC, that being "Truth becomes fiction when the fiction's true. Real becomes not-real when the unreal's real." Hong Lu, as a person, is a 'fake' persona used by the 'real' Baoyu and Daiyu. However, by discarding those two identities and deciding to just be Hong Lu, the fiction of his existence becomes the truth, while his former real selves become not real.

Conclusion?

I could honestly just keep going with this post, but I think I'm going to stop myself here before I'm forced to find out what tumblr's character limit on posts is. Believe me, I was trying to be brief, and still this post is. This fucking long.

I hope this explains why this theory has been the subject of my brainrot for the past however long, and why I feel like it's surprisingly plausible despite being as deranged as it is.

Godspeed and godbless, I have classes tomorrow and I'm spending my time on this.

#ask #anon #lu speaketh #limbus company #hong lu #hong lu lcb #jia baoyu lcb #lin daiyu lcb #lcb analysis #lcb speculation #lcb theory #canto 7 spoilers

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