#character & emotional continuity is one of the things they value so much. i love this show so bad

[voraciouspangolin]

Thread of my second read through The Days Have Worn Away

his stupid smile . I want to put him through a food processor

ok one of them came out wearing an eyepatch i think soldier got cheated on and zhanna had a kid with demo

he proposed with a grenade. and. and he pulled the pin and put the ring on zhanna's finger. and threw the grendade

tbh I fear for the person who becomes the centre of her devotion next

she is willing and ready to use her powers for evil

new sniper lore dropped too. He can fly bush planes

hes so real for this

i think these are the team classic characters... There's a plaque missing on the stone statue at the bottom, I wonder what was on it.

I like how everyone at… Administrator HQ is wearing purple

So earlier we got miss pauling's first name initial, f. Pauling.... so this is a confirmation that her name starts with F, and she's on first name basis with engie. Flo- like, Florence? Florida?

This might be a stretch but I think that these paintings on the wall, I think they're like, the BEST of the best mercernaries of their respective class. Pyro is looking at a hard to make out person surrounded by flames, and demo is looking at a high tech looking demoman

look at all these stupid idiots. i love them

she's SO done dude. SO DONE

also this whole thing. Love the detail that spy is checking his watch pompously . and how everyone else is lined up waiting for them to continue walkign

And this one... god, that smile she gives scout. The way scout beams

The art in this comic has improved so so much, its absolutely gorgeous. The way its layed out, the emotion it conveys without needing dialogue.... magnificent. I like how Miss P's undone hair shows itself as more messy. She's at her wits end- she's past the point of anxiety, past the point of tightening and adjusting her hair so that no strand sticks out.

I think this is the most creature like I've seen pyro and I'm so here for it. E's got eyebrows over the mask lol. Also medic's stupid ass tippy toeing to see over heavy

I love the placement of this context we're getting for how Helen became involved with the Manns. It immediately makes you think to the place where The Naked and The Dead ended, with Helen fully perked up on the final bits of australium she had. Yet its a look into the past

big fan of this painting. Three rifles... and these book titles. So silly i love it

New competitor for Most eyebrows, Zepheniah has two eyebrow spikes, beating medics mere one spike

A whole graveyard of Manns.... I like the one thats just a giant M. Really hammering in the notion that the Mann last name is an identity of immense value, that takes over your whole life. oh, and that panel before the final one, its so full of tension... so good

And here's the actual moment we get to see her in all her insanity. What a woman. I like that the screens all face him, constantly displaying the products of redmond's and blutarch's failure to follow the family line of succession. His eyelids constantly forcefully open, unable to speak, yet his brain still processes the information his body is percieving. He's like if Mr House (fonv) had a dominatrix

me too, scout. me too

big fan of how heavy's eyes are the only ones that are dots

her and miss pauling both, they share the Devotion, the ability to pour their entire beings and lives into one single thing

I bet that thing felt like jerky. who said that

Absolute cinema. Amazing. Magnificent. Wonderful. No notes

[unloneliest]

jam i have a question. who is eliot spencer... where is he from. what makes him ur number one blorbo and what do u understand abt him that no one else does <3

partridge thank you so much for this ask i need you to know you made my entire morning. eliot spencer is. my specialest guy my blorbo of all time i love him so so so so much. he's from the tv show leverage, which aired from 2008-2012* and isn't immune to the downfalls of that era of tv in general but that. honestly does a comparatively outstanding job to ME. it holds up and also the premise is "what if these extremely competent hot thieves ruined shitty rich people's lives and helped the people who'd been victimized by the rich people and created a found family together after all having various levels of sad backstory? and there was an ot3 made as canon as the showrunners could possibly make it in 2012?" i'm getting ahead of myself though.

*there's a sequel currently airing but i have yet to watch it & there's certain aspects about it that i refuse to accept as canon (this is a part of me being the most right about eliot)

i am putting this under the cut because. well. this got long

to start with context. having my brain rewired by supernatural and captain america: the winter soldier when i was a teenager is a huge factor in like. *waves hands vaguely* everything. when it comes to how i came to love leverage and eliot specifically. i got driven away from spn because (to simplify things) the showrunners hated the fans so bad and the characters were fighting the narrative but unable to escape it, and i loved the version of the characters that was actively being opposed by the show. and that was just plain not enjoyable for me. and marvel is marvel and continuity of emotional and interpersonal arcs doesn't matter at all to them.

and the thing is i took a sociology class in 2017 and it was making me so upset learning about white collar crime. and @canis-la-trans was like. we are watching leverage now. to remedy this. and i'd tried watching it with him before but this time around it just clicked. and the biggest part of what clicked is eliot. because listen. eliot is in somewhat of the same category as my earlier favorite characters but the thing about eliot spencer is that all of his best qualities are canon, not fanon. he redefines the category. he's incomprable. to me.

the thing about eliot spencer is he's the punchboy. he's the hitter. it's his job to get in the fights and protect the team. and he does his best to come across as grumpy, as not caring about people, does his best to fly under the radar as just another unintelligent lackey with a short temper who's particularly talented at violence.

but that's a performance. canonically that's a performance. and he has the best work/life separation of the whole team. he's not his job - he's very good at his job, and it's what he does and that is a part of him, but where some of the other characters view their job as an extension of their selfhood, eliot doesn't.

he cooks. he cooks so well that he could do that professionally. he grows all his own produce (allegedly). he's one of if not the best person on the team with kids. he loves so wholly so fast. he's the first person to call the team a we. within team dynamics he & sophie, the grifter, protect the other 2 from the worst of the team leader's dysfunction.

eliot's done bad things in the past. and he views himself completely past saving. like. from commentary on the show: he knows he's going to hell. like. his self worth is completely abysmal. i know he would die for the team. in s2e2 there's an episode where the team isn't succeeding at the con, and he takes the fall on purpose. and in a conversation about that he says "i'm not diving on a grenade. i'll be all right" but he says that so readily that i Know he's thought about it. and he would. for the team he would. for parker and hardison he would. he's in love with them. and they're in love with him too and i have to cut myself off or i'll go an entire separate rant about them!!!!

he has long hair. which he straightens. and he looks great with blood on his face. he doesn't use guns. he never throws the con for personal reasons - only ever does to protect kids. he grew up in rural oklahoma and he enlisted to get the hell out of dodge and he got in such a bad argument with his dad the night before he shipped out that he got disowned. and he can't even talk about it until nearly the end of the final season of the show. he never once mentions his mom. and i just know he got disowned for coming out, intentionally or not. he's never had an environment he could be his full self in without fear until the team.

parker, the thief of the team, is intentionally written as autistic; the hacker, hardison, is so likely written to have adhd. and eliot is autistic too, to me. it makes the level of performing masculinity to closet himself so much more insane to me. bc it's also masking. and adding that context to eliot and parker's relationship makes me unWELL.

the thing is is that eliot is a character who's hiding, who's actively doing his best to be unnoticed. and so many people who watch the show fall for the act, even if they don't fall for the whole act they fall for parts of it, and like. They Are Wrong About Him. i have an entire complex backstory thought up for eliot, because i think the only thing sadder than him missing out on the kind of connection he finds with the team is him knowing what he's missing because he had a queer best friend as a kid, & the two of them were closeted together, but he lost contact with her over the years.

the thing is that eliot spencer has SO MUCH GENDER and i know if he and parker and hardison adopted a kid eliot would be ma. never dad. and i don't think he'd even be able to start exploring that for himself until the end of the series.

the thing is eliot spencer would listen to the mountain goats. and there's a couple other people out there who are right about that and it makes me so insane 100% of the time.

and i love him and this is just a list of facts about him and the most important thing about eliot spencer to me is that. he exists in motion. trying to capture a still image or static description in words never works. but he's my wife and i love him so much. and i always will. and i'm writing a fic where i'm going to blow him up. just a little bit. for his own good. this is my "eliot made himself a mountain goats mix tape about knowing he's willing to jump on a bomb for parker and hardison & never telling them that in advance" playlist from that universe.

all of leverage is availible for free streaming on imdb tv & here are thee best leverage fanvids of all time:

& this last vid is abt the show in general, not just the ot3:

i would add all my fave eliot pics i have screenshotted but this is already so long . i still might rb and do that anyways he is Everything to me

[divinesangel]

— 𝐰𝐡𝐚𝐭 𝐰𝐢𝐥𝐥 𝐲𝐨𝐮𝐫 𝐟𝐮𝐭𝐮𝐫𝐞 𝐥𝐨𝐯𝐞𝐫 𝐥𝐢𝐤𝐞 𝐚𝐛𝐨𝐮𝐭 𝐲𝐨𝐮?

i felt called to do one of these today, enjoy!

— 𝐩𝐢𝐜𝐤 𝐚 𝐩𝐢𝐥𝐞!

— 𝐩𝐢𝐥𝐞 𝟏

your future lover will absolutely adore how authentic you are. they will feel a great curiosity about your energy and how you navigate through life. they will be able to see through you and sense that your wisdom and personality are deeply influenced by your past or the experiences you've endured throughout your life. they will admire your resilience and emotional strength, while also appreciating how mindful you are about the things that truly matter and important issues. you are someone who, despite facing many difficulties and conflicts, continues to see the positive side of every situation and sets boundaries in your personal relationships. your energy will become something quite special for them, as you will be able to help them see things from a different perspective and progress in life. you tend to do this unconsciously, so it's very likely that you won't even notice how much you'll impact this person.

your person will always want to make you happy, and they will put in whatever effort is necessary to do so. they'll have plenty of love to give you, and you'll undoubtedly feel their affection. you won't have to worry about anything or question whether they truly care about you or things like that, because they'll always make it clear through their actions. i see them working day by day to make you happy and doing everything possible to make things work.

— 𝐩𝐢𝐥𝐞 𝟐

you will become this person's rock.

this person seems to have spent a great deal of their life juggling numerous tasks without allowing themselves a moment to breathe. they feel like they must always be doing something and cannot pause to reflect on their feelings or internal conflicts. your arrival in their life is going to open their eyes, and they will see you as someone to trust, as that light at the end of the tunnel.

up until now, they have been feeling very lonely, and i sense that this is due to their lack of communication about their feelings. there is something preventing them from speaking about how they feel, and this only causes that pain to intensify further. however, i see that with you, they will begin to consider giving that much-needed inner change a chance.

they will adore that you are someone so stable and with such clear ideas. they will see you as a person with an organized mind who knows how to maintain composure in the most difficult moments and find a solution.

— 𝐩𝐢𝐥𝐞 𝟑

this person will want to be with you on the spot!

they will see you as marriage material. it's highly likely that this person will want to move very quickly or that certain things will happen faster than expected. at first, it might seem a bit suspicious to you, but it's simply how this person operates. i sense that they act swiftly due to their emotions, allowing themselves to be carried away by them, which might lead them to want to marry you or commit rather quickly. they'll want to give you the world and more, although at times, they may have some doubts about whether their love is reciprocated or if you truly enjoy being with them.

this person will admire your character. you earnestly fight for what interests you and for the people you love. you have no problem defending what you believe in and anything that aligns with your values. they'll be aware that sometimes you may struggle to trust others due to past experiences, but they won't hesitate to show you their true intentions and anything else in order to be with you.

[gluion]

safe haven (how much longer do we have?) ➵ leehan

leehan x reader, slight sungho x reader

you can only hope for more tomorrows with leehan.

genre/warnings ➵ strangers to lovers, heavy angst with a happy ending, touch of fluff, gender-neutral reader, reader is shorter than leehan and sungho, lowercase intended, apocalypse au, hurt/comfort (both physical and emotional), depictions of grief, descriptions of gore/blood, use of guns, allusions and discussions of suicide, minor character deaths, sungho is your ex, myungjae and taesan appearance :’), elements of the last of us (don’t support neil druckmann!), mostly written in past tense (because u’re remembering!)

word count ➵ 6.2k words

inspired by ➵ “anaheim” by niki, “are you happy?” by wavesmp3, “love wins all” by iu, episode three of hbo’s the last of us, and “you’re gonna carry that weight” quote from cowboy bebop

a/n ➵ i really love this piece with everything in me so i thought i'd release it to bonedoblr as well!! you can check out the jacob & taerae versions as well. if you enjoyed reading, please do reblog and leave feedback!

want to be part of my taglist? send me an ask! masterlist

time was the one thing that occupied everyone’s minds. it held value, something that shouldn’t be wasted, and people revolved their lives around it.

questions flew around with every tick and tock—what day is it today? when’s your next doctor’s appointment? how long has it been since you’ve last seen your friends from high school? until when does this meeting last? 

as the hands of the clock continue to rotate, the calendar pages would flip along. birthdays were celebrated with every revolution as candles on cakes were lit up, awaiting the puff of celebrants as they wished for their desires. holidays were ones to look forward to; people dressed up to celebrate periods of the year that mattered to them while others slept in until noon. and days were spent counting down until graduations, where caps with tassels would fly to the expanse of blue and orange as cheers and sobs sound throughout.

but now, no one keeps track of time. clocks stopped moving and calendars weren’t produced annually. once the surge of the infected took over, grabbing on humans—taking them away from the lives they’ve lived—everyone ran like they were running out of time. with every second that passes, people are ridden with possibilities of how they might bid farewell to life itself—would it be through the hands of the infected or their own?

now, only one question echoes within their minds: how long do we have?

yet, the clock continues—tick, tock, tick, tock. it keeps going, and going, and going, like how everyone expects it. while everyone seemed to let time go, you still kept track of it all: birthdays, holidays, a graduation you never had.

the outbreak hit two years ago on the day of sungho’s graduation. cheers turned into screams. white togas and diplomas were splattered with red. the lively became lifeless.

you remember sungho’s hand in yours, fingers gripping you as if you were his life, as you charged out of the gymnasium, legs keeping up with the speed of his. you darted off to nowhere as images of the infected tearing people apart took up every block, all the way from skin to bone.

and while it was a rush of tragedies, sungho was the only hope you had.

“keep your eyes on me,” he glanced at you, “don’t look at them. only look at me.”

it was impossible to ignore the wails that filled your ears, but you would repeat his words—his soft-spoken voice—to drown them out.

by nightfall, you and sungho found yourselves in a motel room, skin cleaned from blood splatters and dressed in clothes that engulfed your figures, and in each other’s arms on a twin-sized bed. the duvet that wrapped around you two is thin, not at all keeping you warm for the night, but the warmth of sungho was enough to provide you a sense of security—stability amidst the ever-changing world.

he whispered into the crown of your head, words meant to dispel your fears, all while you sobbed into his shirt. there was nothing that he could do but stay strong for you.

and for a few days, that room acted as your safe haven. the time spent within those four walls is the life you imagined your future with sungho. it would’ve been in a two-story house with a garden where a singular orange tree stands, lounging on the couch as you played movies to fall asleep to, but all you had was an old room with a carpeted floor with unrecognizable stains and a bathroom unable to fit two.

yet, you would choose this over anything. even if it meant eating instant noodles for every meal or sleeping on a mattress that ruins your backs, you would choose this if it meant sungho would be with you.

still, time continues to move. sungho knew that you both couldn’t stay in that room or else the infected may reach you. so when you both went to bed on that last night, you outlined his features from the space between his eyebrows all the way to his lips, and you spent that time memorizing his warmth to carry with you for the rest of your life. you could only hope that he stays with you until the end.

after a month passed, you and sungho met jaehyun, an injured boy who only wanted to live. at first, sungho was hesitant to take the stranger in, but you wouldn’t allow yourself to live with the idea of abandoning someone in need. in a world where the infected have taken over, it only seemed right to help out others; save them from a fate they’re not ready to meet.

what started off as a pair turned into a trio. you’ve learned more about what it takes to survive in this life. long gone is the need for money to buy necessities; you need to scavenge for supplies if you want to live in an infected-ridden world. thanks to jaehyun, you and sungho got to learn about how to find them in every building that you pass on the journey.

but it’s not enough to know where to find food and bullets. sungho decided that it was only right to teach you how to use a gun. with every morning that came, you two spent hours learning how to hold, reload, and fire.

“don’t worry,” he told you as his chin hovered over your shoulder. you both stared at the tin can situated on a stack of boxes only a few meters away. “you won’t have to worry about fighting alone. i’ll be here with you.” as you exhaled, your eyes zeroed in on the target. “now, shoot.”

six months have passed, and you were happy that you were still a trio. jaehyun became your best friend over that time. his laughs were enough to shine glimmers of hope onto you. you were glad that you decided to help him off the ground and tend to his bullet wound that day.

until you found yourselves retreating from the horde of infected.

time moves at a constant speed but it can become swift if it decides to. when you and jaehyun reached the doors leading to safety, you remember seeing sungho fighting off those who were once like you, bullets firing at their heads. you remember your screams, telling him to run to you—go to where it’s safe—so that you can keep having tomorrows with him.

yet, sungho glanced at jaehyun, nodding at him before his eyes met yours. you watched how his mouth moved, a soundless three-word phrase leaving him before the doors shut before you. you would’ve pried them open but jaehyun kept his arms around you, holding you back. from letting the infected reach you. from letting sungho come back to you.

the wails that left you were enough to attract the infected. if only they were to burst through the doors, grab onto you and bring you to sungho, then maybe you would stop crying. yet, jaehyun dragged you away. you never saw him as your best friend after that.

a month passed, and you still refused to talk to him. the boy tried to strike up a conversation with you, trying to earn your laugh like he used to, but he was only met with a cold shoulder. with every brick he put, you smashed your sledgehammer against it, dispelling any hope he had in rekindling his friendship with you.

the two of you learned to live in silence, fighting for survival while dealing with the loss of the one who would always bring you both to safety.

until you came across another boy who pointed his gun toward you. his defensive demeanor reminded you of sungho, and you wondered if this was his doing—his reincarnation. but before he could pull the trigger, jaehyun saved you from meeting your fate.

somehow, the duo had turned into a trio once more. you still refused to talk to jaehyun but would eavesdrop on the conversations he shared with the stranger. you learned that the new addition is named leehan.

but even the stranger wasn’t enough to fill the void that sungho left. with every nightfall, when the soft snores of the two boys filled your ears, tears streamed down your face as sobs threatened to spill out. the palm of your hand wasn’t enough to muffle your weeps. behind your eyelids, sungho’s last words to you play on repeat. the ones he failed to say. the ones you’ll never hear again.

maybe if you didn’t leave that motel room then he would’ve still been with you, arms finding their place around your waist as he trails kisses all over you. if the outbreak didn’t happen, then maybe you would be living in that two-story house with him. maybe you would wake up to a glass of freshly squeezed orange juice by the bedside table and the warmth of his lips on your forehead. and maybe you could finally tell him yes before he slips the silver band on your finger—you could’ve grown with him until your hair turns grey.

the weight you carry never got lighter with time. the void continued to consume you whole with the goal of ripping you apart. as another month passed, another life was lost—not to the infected but to the raiders.

“myungjae, you have to stay with me.” those were the first words you told him since sungho’s death. crimson continued to spill out of his abdomen through the gaps between your fingertips in the same way tears flow out. “leehan! find gauze, betadine, anything!” you never glanced at the stranger, keeping your gaze on your best friend whose eyes continued to droop.

still, jaehyun caressed your face, thumb wiping teardrops. as he slowly entered territories that you both knew he would never escape, he grinned at you one last time. “i missed hearing you. i’m glad you’ll be the last thing i hear.”

but you tried to tell him that you couldn’t be the last voice he heard. it should’ve been with someone he can imagine his future with, maybe in a two-story house or a cramped flat in an apartment complex. he deserves more tomorrows in the same way sungho did.

but time continues to move. it took him away from you in a matter of minutes, slithering away without a second thought and no regard for the value of life, and all you were left with was his temple—still. lifeless. as you sobbed into his shirt, still holding the wound, the warmth of leehan���s hand stayed on your back, moving along with your wails. 

now, you carry the loss of two. it never got easier with time.

leehan still sticks with you. it only seemed right. stay strong in numbers as you wander off to nowhere, grasping at the loose ends of survival.

two weeks have passed. you and leehan got used to the new dynamic; while he went hunting and you were tasked with scavenging, you both played your roles in combat, ready for any raid or horde. when night comes, you both took shifts, keeping watch while the other got some shut-eye.

until that one evening.

you recall the sounds of wood crackling from the fire. it stood strong against the breeze—burning, shining—surrounded by greens that latch on browns. hues of amber cascaded over your skin, painting you with warmth—it’ll never compare to the one you craved. your eyes drifted to leehan who sat across from you, his eyes trained on the fire as he rubbed his palms together. perhaps he craved the same type of warmth you longed for.

“we used to be three.” his eyes snapped towards yours. “before you came, we used to be three—jaehyun, me, and—” it rose in you like bile, wanting to escape but never leaving. “we were three then.”

you glanced at the wood that continued to burn. “we met jaehyun a month after the outbreak, spent six months together until—” the claws of the void struck against your throat, holding you back from sharing with the stranger what your life was before he came. while you never found the right words to say, leehan never pushed, letting you say what you wanted to share while filling in the blanks on his own. 

“i resented jaehyun after what happened.” you moved your gaze to leehan whose eyes never left you. “refused to talk to him. refused to forgive.” and you remember how you hesitated, taking a deep breath in before sputtering out the next sentence. “refused to accept.”

nine months ago, the outbreak didn’t happen. nine months ago, you were attending sungho’s graduation. nine months ago, you two were imagining your tomorrows together—for eternity.

and those nine months fractured all hopes and dreams; the glass is now littered with cracks, ready to burst into shards.

“but i think about the last time we saw jaehyun,” the image of him sitting in front of you all frail, treading the line between life and death, flashed in front of you; it’s quick but strong to remind you of what’s lost. “and i wish i could’ve learned how to forgive during those two months.”

but it was an impossible request. how could you ever forgive a boy you’ve known for only six months for taking your future away? how could you forgive a world that took him away? how could you forgive and live?

and still, you did.

you left it at that. they were enough. so when you told leehan that you’ll take over tonight’s shift, he never asked to hear more. instead, he laid near the campfire as you kept an eye out.

and once enough hours have passed, you allowed yourself to sob like other nights. the breeze that passed through branches reminded you of jaehyun; rustling leaves imitated the giggles of the boy you’ve only known during the apocalypse.

the wind that grazed against your skin should’ve been a nuisance, but the warmth of the fire wrapped you up like the duvet in that motel room. and you don’t complain—it’s the only part of sungho you have left.

the heat was enough to last you the night, but the chill of reality sent you back to the void.

that night, leehan listened to your sobs. not one of you got enough rest for the journey.

another two weeks went by. you two got into a better groove of the routine; instead of hunting and scavenging in silence, you and leehan found yourselves talking more about your lives before the outbreak. you learned that he’s only a year younger than sungho, and he shared that he had plans to pursue music.

“if the world finds a cure to this mess, you have to promise me that you’ll get me front-row tickets to your first show.” it was a joke. in what world could there be a cure for the infected? but the wishful thinking of what could be—what could’ve been—is all you had left.

still, leehan promised you that.

that night, you two stayed in the living room of an abandoned house. instead of lighting the fireplace, candles were placed on the coffee table. they shined in the middle of you two, you who stayed on the couch and leehan who sat on the mattress lying on the floor.

“where were you?” his eyes met yours. “on the day of the outbreak, i mean.”

he leaned back, hands resting on the mattress before he looked once more at the wax that continued to melt. “i was there for my upperclassmen’s graduation.” it hit you like sudden downpour on a sunny day. “i knew people in the music program and we were going to celebrate after. until the infected came.”

and when you said the name of the university, his gaze met yours as his shoulders stiffened. “m—my sungho.” it’s the first time you spoke of his name, and the sight of leehan’s eyes widening over it was enough to speak for himself.

“i—i didn’t know,” he whispered, but his words were loud enough to shatter glass. “i only spoke to him a few times. he talked about you with so much love.”

your heart skipped beats; it should’ve been enough to send you off into the same territories where sungho and jaehyun now stay. your mouth turned dry as leehan’s voice morphed into radio silence.

before you knew it, the two of you left the information to hang in the air as you tried to drift into slumber.

the clock continues to tick. minutes turned into hours; time moves like it usually does once more.

yet, you were stuck in the same gymnasium, fixing sungho’s toga as you scolded him about how wrinkled it’s become—hey! you’ll go up on stage soon. we can’t take pictures of you like this. despite your words, he smiled at you before grazing his lips on your temple—his silent way of telling you the three-word phrase.

in a split second, you were off the couch. you barged out of the house, clutching your chest as the knot constricted your throat, and your feet dragged you off to nowhere. every sound has turned into a buzz—only the voice of sungho being the one clear thing amidst the hysteria.

before you knew it, you stood before a horizon of green. it takes only one step into the woods, alone with no protection, for you to meet your demise. you would’ve charged into it in the same way you would’ve charged out to save sungho that day.

all it takes is one step, and—

“what are you doing?!” a pair of hands gripped your shoulders, spinning you around until you were face-to-face with the last form of life that you know of. his breaths were short as his fingers dug into your arms. “you can’t just rush out in the middle of the night! i woke up worried sick.” his eyebrows knitted in frustration. confusion. distress. the voice was caught in your throat.

how does one begin to unpack the baggage they’ve learned to carry? when the items they bring are revolting, rotten, repugnant, how does someone not feel shame about showing all the tattered-up objects?

how do you learn to open up to someone you’ve only known for three months?

your hands trembled; you’ve carried the weight of it all for too long.

in that split second, your nose met the juncture between his chin and shoulder. the material of his shirt against your cheek allowed you to bathe in what you miss—the hand of jaehyun that once caressed your face. the lips of sungho that lingered with every kiss. all the moments that you hoped time would freeze just for you lives in the boy you stick with for survival.

all it took were leehan’s hands to rest on the lower side of your back for the tears to begin their stream. the sobs spill out. for once, they weren’t muffled like those other nights. they sounded throughout the space that surrounded you two. you allowed yourself to drop the baggage only for a few minutes.

leehan took you back to the house that night, allowing you to sob about all that you’ve kept under the wraps.

when sunrise came, you found your legs mixed with his as his arms remained wrapped around you and your ear pressed against his chest. the sound of his breathing is the one reminder of what a safe haven is. 

half a year went by. leehan still stays by your side. the baggage got lighter.

it should’ve been the same routine; leehan goes off to hunt while you scavenge, and you’ll take turns on the night shifts. but that night shifted something between you two. stolen glances. quiet giggles. linked fingers.

two months have gone by. the moon shined through the trees, their shadows cascading on an abandoned cabin that you and leehan decided to stay in for that night.

it should’ve been the same set-up as other nights spent in abandoned houses; you’ll sleep on the couch while he sleeps on a dragged-out mattress. instead, he sat with you, your back resting on his chest along with his hand staying on your arm. 

a lit candle rested on the table; its amber tones painted leehan’s skin—close to the fruit tree that stands in your lost future.

“what would you do if there is a cure to this?” you watched how his fingers danced across your skin, calloused from plucking guitar strings or wielding a gun. 

leehan’s chest rumbled against your back as he hummed. “what would you do?”

a giggle left as you looked at the boy. “i was the one who asked you first!”

he shot you a grin as his hand slipped into yours. the candle continued to burn; it did a poor job of giving you light and warmth that night. but he did it all—one smile. one exhale. one indication to show that he lives.

“travel, maybe? or i’ll go back to writing music.” you nodded at his plans before looking back at the light source. “what about you?”

“i don’t know.”

there was no point in going back to university after such a catastrophe. if anything, the year spent surrounded by the infected, fighting for survival, has shown you that there’s more to life than the perpetual cycle of working a nine-to-five.

so…

“i would settle down if i could.” the wax continued to melt. “i think i’ve seen enough of the world. for once, i just want to stay home. indulge in my hobbies. live the life that i want.”

his breath grazed the top of your head. “with someone?” and suddenly, you became aware of it all—the heat that emitted from his palm. the movement of his chest against your back. the gravity of his question.

the words get caught in your throat. your heartbeat rang in your ears. for the first time since sungho’s death, you considered it. 

“with someone.”

before you knew it, his hand caressed your cheek. you were forced to meet his eyes which glistened with devotion. he leaned forward, his breath grazing your skin while you held in yours. you didn’t miss how his gaze flickered to your lips before he met your eyes once more.

then, he held back. it’s a choice, one only you can make. but when your eyes shut, it’s a quiet plea—a silent yes.

his lips met yours. 

the warmth that blossomed in your chest wasn’t like the one in that motel room. not like the embrace of the one you’ve lost. it was one of all seasons—changing with the weather, bringing comfort throughout the everchanging times.

it’s a perpetual cycle of fighting for survival.

you’ll endure through it all.

a month passed by, and you came across another boy on the journey. he’s named taesan, and he told you of a safe haven located in the town that you and leehan grew up in.

for a moment, it was an internal debate—should you go back to where the downfall started? can you go to where the memory of sungho still lives?

but one glance at leehan was enough to settle it. the three of you embarked on your journey.

you remember that day. it was a walk with the goal of finding a car to make the journey back an easy one. the heat of the sun prickled against your skin but you still kept your arms crossed.

“are you two together?” taesan asked, causing you to whip your head towards him. your eyes met leehan’s for a split second—confusion. dejection—before they landed back at the stranger who kept his eyes on the path you took.

“no, we aren’t.”

for the rest of the journey, it was quiet.

sundown came, and you found yourselves in a convenience store for that night’s shelter. leehan was in charge of taking the night shift, allowing you and taesan to rest up. when the stranger went off to sleep on the makeshift bed, you were left alone with leehan.

you watched how he cleaned his gun with a rag stained with dark splotches. the moon gleamed through the window—it can’t compare to how leehan shines.

you needed to get some sleep, is what you tell yourself. with one spin, you were about to make your way to where you’d sleep for that night.

“are we really not?” you halted in your tracks. “did it mean nothing?”

not a single answer left your mouth. your eyes remained straightforward as you refused to meet his gaze.

the warmth vanished with a lack of an answer. instead, it was replaced once more with the cold—the void—that attempted to consume you whole.

and when a scornful chuckle left leehan, you knew that you’d burnt the bridge. you walked away, leaving him to do his job, bidding farewell to the closest form of a safe haven.

two weeks went by and another goodbye had to be done. taesan stood in front of you two, a grin on his lips while tears streamed down his face. his arm was out, revealing a bite mark. the veins near the wound had already turned black. he would’ve turned in a few hours.

“go out.” those were leehan’s first words to you since that night in the convenience store.

you remember the last thing you told taesan before you left the room—you’ll get to your safe haven. the sobs that spilled out of him are ones you’ll never forget. and when you shut the door behind you, it took 20 seconds until you heard a gunshot. 

the weight got heavier once more.

another two weeks went by, and you and leehan found yourselves standing in front of the remains of a safe haven. the fences were torn down. streaks of dark red littered over pavements. not a single sight of a soul lived.

still, you two trudged your way through the town, all the way until you reached leehan’s house. like others, his was abandoned. the cream walls were littered with red strokes and vines. when you both entered, you didn’t miss how leehan’s eyes lingered on a photo hung on the wall—a picture of him and his parents.

you gave him all the time he needed to explore, to sit with the mess, while you stayed in the living room. as you sat on the couch that had gathered dust, you caught sight of a bowl of plastic produce that rested on the coffee table. it held a variety of fruits whose paint had chipped: watermelon, chestnut, and fig.

but amidst the crowd of old, torn-down, plastic fruits, a pear and an orange leaned against each other as grime collected on them. once your hands reached out to the fruits, you pulled them apart—a mess of green and orange stained the two.

he came back to you in 30 minutes, eyes glistening with tears. yet, he only gave you a nod, and you two went to another house. 

you then stood in front of your old house with leehan by your side. weeds grew in the front yard, and the wooden exterior has turned a few shades darker. silence settled between you two. 

to be back in a place you grew up in, where all your memories live, is a process—a grieving one. being face-to-face with the damage brought by the infected can only remind you of what you had and could’ve had.

and once you made your way to your childhood room, you were reminded of all your hopes and dreams before the outbreak. dust rested on top of books. the laptop on your desk had no charge. potted plants have withered.

when you approached the picture frames found on your table, your hand darted out to a photograph of you and sungho. there was no occasion when that picture was taken—the fact that you two were together was enough for it to be remembered. memorialized.

as you made your way back down the stairs, you saw leehan crouched in front of the console table with eyes trained on photographs. “was this your high school graduation?” you approached him and saw the picture he was referring to, you who stood beside sungho with a big grin as his lips were on your temple.

“yeah,” you said as you crouched beside leehan. “we knew each other back when i was a freshman.” your fingers trailed on the wooden frame, gathering the dust before flicking it away. despite your efforts, it was still covered in grime, but you didn’t mind. 

“and you stayed together since?” all you did was hum. “did you find anything up there?”

for the first time since you entered your old house, you looked at leehan and he met your gaze. your eyes trailed his features. the eyes that speak of a thousand words. the lips that once kissed yours.

and it hit you like the gunshot that filled your ears, the breeze that rustled the leaves that one night, the doors that shut close. it was 20 months since the outbreak happened, 13 months since you lost sungho, and 11 months since jaehyun told you his last words.

but it was also 13 months spent with leehan, choosing to survive with him. 

“yeah.”

you found a lot of things within those four walls. there were books you once read growing up, stuffed toys you slept with, and the one picture of you and sungho; they’re the remaining pieces you have left of a life that was good.

you would’ve kept it all, rebuilt the life that was ripped away by the hands of the infected—

“but nothing to hold on to.”

they’re memories, ones you’ll carry with you, but ones worth moving on from. 

“oh,” he said as his eyes still held your gaze. “okay.”

and with one exhale, you said, “let’s rebuild it, just a place for us two.”

it was a whirlwind of emotions in leehan’s eyes, ones you can’t identify. for a moment, you thought he’d say no. maybe he decided that 13 months was enough. one more day with you would be too much, and—

“okay.” when his hand reached out for yours, linking fingers with you like all other times, you gave him a small smile.

when you and leehan stood up, you made your way out of the house, off to find a place just for you two—a safe haven to last you many tomorrows with him.

a month passed. the safe haven was rebuilt; the fences stood strong with electrical wires and barbed wires, and the town was cleaned of all remnants of grime and blood. the two of you took up different tasks ranging from cleaning, cooking, building, and maintaining the haven.

but while you were okay with a knife, accidents did happen. “fuck!”

“what happened?” you remember how leehan came rushing in, only to see you pressing on the skin around the cut on your finger.

before you knew it, you were sitting down with him as he wrapped gauze around the wound. “leehan, it’s just a cut. i’ll be fine.”

“still, i don’t want you getting hurt.” you watched how his eyes were focused on treating your finger. “i’ll be in charge of cooking now.”

you shook your head. “no, i like to cook. i want to cook for us.” his gaze then met yours, his filled with worry while yours filled with determination. they flickered back to your finger and his hands busied themselves with covering it up.

once he was done, his hand continued to hold yours. you remember the heat of his thumb as it drew patterns on your hand. he’s etched himself onto you.

his eyes met yours once more, and he said, “okay, just let me help out.” all you gave him was a nod.

another month went by, and you woke up to the sound of gunshots. you remember how hazy your vision was that night, fresh from sleep but panic coursing through your veins. and when you looked beside you to only see an empty spot, you didn’t think twice about rushing out of bed.

when you exited the house, you saw leehan holding his gun, firing at the people who attempted to tear down the haven’s fences. “leehan!” he looked back at you and you caught sight of the crimson that poured out of his abdomen.

another gunshot was fired, grazing leehan’s leg, and he fell to his knees. you ran to him, reaching out to rest your hand on the wound as you began to sob. “fuck! you have to stay with me.” with his arm resting around your shoulders, you dragged him back to the house.

you set him on the table and moved his hand to hold where he was shot. “hold it.” you rushed to where the medical supplies were stored and gathered whatever you could hold. when you got back, you saw how blood continued to spill out.

you got to work, focused on trying to patch him up, making sure he stays. “you can’t go. i won’t let it happen.” and while your hands busied themselves with treating the injury, you remember how leehan’s hand caressed your cheek, thumb wiping away the spilled tears. 

“in the basement, there’s a piece of paper that has all the codes. if you ever—”

“no, you’ll be okay.”

still, he continued to talk. “if you ever forget the codes, you can always look at the paper. don’t forget that you need to always check the water system every two days, and—”

“leehan!” you croaked out his name in between sobs. “you’ll be okay. you have to, okay?” the more he went on about what to keep in mind, the baggage got heavier. “i can’t do this without you. i won’t allow it.”

because 15 months ago, you would’ve bid farewell to the mayhem. 13 months ago, you hoped for time to drag you away. 12 months ago, you would’ve walked into the forest. but it’s been 22 months, and you were still walking on this earth, choosing to live amidst the chaos—so long as leehan was with you. 

and when you leaned your forehead on his, eyes closed, you felt his breath graze against your lips. “i need you.”

all it took were three words from you. “okay.”

it’s been two months since that happened. the safe haven was rebuilt once more. you and leehan fortified the defense system, hoping they’ll be enough to keep any infected and raiders out. all that matters is that you two were protected—safe—from the chaos.

now, you sit on a couch as you flip through the pages of a book you didn’t have time to read before the outbreak. when all responsibilities vanished, you were able to find enough time to do things you couldn’t do then.

you were ready to get yourself sucked into the world of the novel, but leehan came into the living room with his hands behind his back and a small smile on his lips. “do you remember what you made me promise you before?”

you frown at him, confused, until he shows you an acoustic guitar. “oh my god, you found one?” you put the book on the coffee table.

he takes a seat beside you, body facing towards you as he rests the instrument on his lap. “here, front-row tickets to my first show.” you almost laughed because this is no stadium or club, but a home—one you built with him.

it takes only one smile from him for you to hold it back.

“any song requests?” he strums on the guitar strings, perfectly in tune. it’s almost as if he tuned it before coming to you.

a hum leaves you as you rest your head on your hand propped on the couch. “whatever you want to show me.”

it takes him a few seconds, fingers fiddling with the strings, until he figures out what to play. when he sings out the words—dearest, darling, my universe—you melt like the candles you lit up those nights. as he continues to play a song of a world in hysteria but a love that endures, that’s when you realize what you’ve had all this time.

time is the one thing that occupies your mind. it holds value, something that shouldn’t be wasted, and you learned to revolve your life around it.

it takes you two years to figure out that life doesn’t end after the outbreak—and 17 months to realize that your safe haven is not a two-story house with an orange tree in the garden but the boy in front of you.

when you lean closer to him, his fingers falter, messing up the chords. your hand reaches out to caress his face as your eyes flicker to his lips. you don’t miss how leehan holds his breath, how he stops playing the guitar, how his eyes look back at yours—it’s a slurry of warmth. tenderness.

“i love you.”

all it took was a three-word phrase from you for him to close the distance.

the warmth that spreads within you is like the one you experience in the abandoned cabin. but now, you’re full of hope—a reason to stay—in an infected-ridden world.

now, only one question echoes within your mind: how much longer do we have?

an eternity is what you hope.

tag list: @onedoornet @kflixnet @loserlvrss @lionhanie @nicholasluvbot

@blumisiu @0310s @icyminghao @shegotthewoobies

[stheresya]

"I love him, Father, I truly truly do, I love him as much as Queen Naerys loved Prince Aemon the Dragonknight […]" (Sansa III, AGOT) “Wed?” Sansa was stunned. “You and my aunt?” “The Lord of Harrenhal and the Lady of the Eyrie.” You said it was my mother you loved. But of course Lady Catelyn was dead, so even if she had loved Petyr secretly and given him her maidenhood, it made no matter now. (Sansa VI, ASOS)

I find that these little passages reveal something interesting about sansa's personality. specially when you juxtapose how she's characterized in the text and her worldviews here, and how at first glance they may seem contradictory. but first, let's take two things into account:

the patriarchal society of westeros is very strict on women's sexuality. which means that not only is female virginity held in great value, but also female adultery is very firmly condemned by everyone, unlike men who are allowed to maintain public mistresses and flaunt their bastards everywhere.

sansa is characterized as the conformist, the one who internalizes her society's rules. she's very religious, she's a proper lady in every sense of the word and she often says and does exactly what she's told.

and yet, in these passages we can see that sansa does not care much about societal rules when it comes to intimate feelings. she often hails aemon and naerys' (supposed) forbidden love without a single care that queen naerys was bound by duty to a husband and aemon was meant to be loyal to his king. but most astonishing of all is her nonchalant response to petyr's (false) information that her mother was not a virgin when she married. on one hand it may speak on sansa's views towards women's sexuality, since her current friends (mya and randa) are girls who engage in sex out of wedlock, and she never judges them, just like she doesn't judge her mother for apparently doing the same, and catelyn continues to be the person she admires the most. sansa also doesn't view her parents' relationship any differently because of this, the marriage between ned and cat is still as happy as she remembers, because all that matters to her is that there was love in the home she grew up in. the thing about sansa's character is that she plays by the rules up until a certain point, but on the inside she always prioritizes emotion over societal norms, and that's why she looks more upset at petyr for marrying someone while claiming to love another, because in her mind he's being unfaithful to his heart by marrying out of practicality. we have examples that showcase sansa's prioritizing feelings in AGOT when she, the good daughter, disobeys her father for the first time because she thought she was in love with joffrey, and in ASOS where she never thinks she owes tyrion anything just because he's her husband. so it comes as no surprise that she's so infatuated with the love story of an adulterous and incestuous relationship like aemon and naerys'. one of the main themes in this series is that feelings don't care about honor. and if love is the death of duty then sansa seems more than happy to see duty killed for the sake of love.

of course this doesn't mean she'll stay that way, specially when she's already lost her so much of her innocence and is now tangled in petyr's schemes where she must set her own feelings aside in order to act on his plans. and despite her silent judgement of petyr marrying someone he didn't love, her current betrothal with harry is an entirely practical union on her part since she feels nothing for him and only sees him as a means to an end. there have been many instances since book 1 where she was able to turn off her feelings in order to withstand certain situations. so... what even is sansa's mind? an interesting universe on its own for sure.

I just think sansa's romanticism is one of her most interesting traits (for better and for worse), something that truly contributes to the distinctiveness of her character, and I really hope petyr or anyone else are unable to completely kill that in her.

[markrosewater]

As someone who only recently got properly into Magic this year my stance on the recent UB Standard legality is that so long as the mechanics are good, fun to play, and work well with the other Standard legal sets then I don't particularly care if Final Fantasy is legal.

But.

There is something about the Marvel Universe being Standard Legal that feels off. Final Fantasy shares many aesthetic and gameplay similarities to Magic that make it slide into the general ecosystem better from a Look/Feel perspective. Meanwhile, as much of a Spider-Man fan as I am, it is going to be incredibly weird seeing Peter Parker or Miles Morales face off against the critters of Bloomburrow, even more than Thunder Junction or Duskmourn do.

I will attend the Final Fantasy and Spider-Man prereleases because I love playing Magic and I am interested in both sets, but I cannot shake the feeling that this decision makes the overall play experience strange, especially since SIX Standard sets of a year is way overdoing it (maybe 3 In-Universe sets and 1 UB set would be a better balance?)

I understand the decision from a logical standpoint but the emotional reaction to Magic losing some of its Qualia is something that I can't ignore

I have read many of the responses to my request for emotional responses yesterday (I will continue reading - there are just a lot of people sharing). A common through line is the feeling of loss, that the decisions we’ve been making are taking things away from them.

So, I wanted to take a moment to talk about something that I believe Universes Beyond is adding to the game. I’m not talking about value to other people that aren’t you, but something that is upside to the enfranchised players that are the backbone of the game.

As I’m head designer, my focus is on mechanics and the core gameplay experience of playing the game. Universes Beyond has been a bolt of energy for the design of the game.

Because so many of you are sharing personal stories, I’ll use my own experiences as a way to illustrate my point.

One day, when I was seven or eight, I woke up and went downstairs to see that my Dad had bought me a comic book and left it out on the counter for me as a surprise. It was Spider-Man.

I must have read that comic ten times. It was the start of a life long love of comic books. I’m not quite sure why the superhero genre, in particular, spoke to me so strongly, but it did.

As a teenager I was a bit of an outcast, and when I stumbled upon the X-Men, it felt like a story that was core to my lived experience. I too was an outsider, but out there were people like me and if I could find those people, we could bond over our similarities.

I enjoy designing Magic. I mean really, really enjoy designing Magic. I don’t throw around the term “dream job” lightly. It is truly a lifelong passion. I spend so much time writing about it because it is something that brings me so much joy, and there is a desire to share that joy with others, my found family that shares my similarities.

Designing Marvel cards has been electrifying. I have spent years mastering the art of Magic design. Getting to combine that with my love of Marvel characters has been inspirational. It has inspired to make designs I would have never thought of.

It has pushed me in directions I couldn’t have predicted and resulted in designs that tickle both my inner Mel and Vorthoses.

And it hasn’t just affected my own designs. I have given more notes on card designs than I have in my twenty nine years at Wizards.

For example, the amount of back and forth with Aaron who designed the five Secret Lair cards we recently revealed at New York ComicCon was exhaustive. He and I have long bonded over our shared love of Marvel, so getting to translate that into Magic with him has been amazing.

And each Universes Beyond product we’re making has people as equally passionate about that property.

My point is from purely a design perspective, Universes Beyond has had huge dividends. It has inspired us to make fresh new designs. It has sparked creativity. We are making awesome card designs, mechanics, themes, and sets, things that most likely wouldn’t have come into existence otherwise.

The passion that beloved characters and worlds has inspired in us is translated into amazing Magic design, something that will make the act of playing Magic better for anyone who enjoys the nuts and bolts of the raw gameplay of Magic.

[puc-puggy]

really fascinated with deadpool & wolverine less as a movie and more as a corporate response to the growing insecurity in relating to and creating meaningful art. like, never have we been more aware of the impact that the relationship between art and artist is oppressively mediated by Corporation than right now with marvel, whose movies grow continually worse and more forgettable under growing corporate control, and this movie bears the weight of a particularly complicated and contentious merger. what they decided to do about it is just. fascinating. disturbing, but fascinating.

the movie is incredibly aware that it is a Product and seems to have completely sidestepped any attempt at meaningful storyline in lieu of packing as much Content into 2.5 hours as possible. and I mean Content. they broke him up with his girl & separated him from all his meaningful character connections, then sent him through a very funny but disjointed and lackluster plot, putting all the meat in nostalgic character interactions or gratuitous fan-pleaser match-ups that can work as tiktok clips. don't get me wrong, i'm a basic x-men bitch. wolverine is one of my all time favorites, especially early angry fucked up alcoholic logan. i gasped at elektra and straight up screamed when wesley snipes came into frame. I laughed out loud at the list of cocaine slang terms disney apparently has. it was fun! it succeeded in making me not mind that it was barely a movie.

and that's the rub, isn't it? it was barely a movie, and it knows it’s barely a movie. but it still has to connect with its audience somehow. and that, i think, is what's really fascinating. it forges its connection with the audience not by building characters or stakes and giving any of them genuinely grounded emotional arcs but by using a fourth-wall breaking character to commiserate with the audience about the impact of corporate ownership & profit on their relationship and access to the stories we love. while being the impact of corporate consolidation on stories you love.

deadpool makes jokes about his stupid villain and mcguffin machine, but the plot is still motivated by a stupid villain and a mcguffin machine. he jokes about being banned from doing cocaine on screen & does not do cocaine on screen because he can't. the corporation that now owns his IP has deemed it against their values. he jokes about what things "have to happen" in the movie because there is actually a list that they were given. as a friend pointed out, “the climax was exactly as contrived as it needed to be to make it a statement: ‘you see how this barely-fleshed-out villain character is just gonna kinda stand there in front of the macguffin machine for as long as we need her to so that we can have the conversations and tropes and results we want? yeah we're just gonna do that. we're gonna keep cutting back to her just standing there going Mmmmm mwah haha to specifically highlight how dumb it is. On purpose.’”

by embedding it in the plot with a character that breaks the fourth wall, the movie stops being “about” the plot on screen and starts being “about” the collective relationship to the characters, embodied by ryan reynolds, whose personal desire for a good deadpool & wolverine movie motivated by his pure love for deadpool is the mythological origin of the movie, and who was allowed to break character and say as himself to hugh jackman as wolverine “you have no idea how long i’ve been waiting for this.” he’s turned into a sort of avatar of the pure fan, who’s there to love the character and have fun and isn’t too bothered by logistics and legalities. it wants you to feel like deadpool also hates it when stories get shuffled because of corporate stockowners, like this extremely expensive bullshit is his personal protest and he's going to give them a proper sendoff & ryan reynolds was around to hold everyone up to standard. the corporation soothing the audience and fan that people who love the stories are ‘in charge’ enough to create a good time, lowering your standards and expectations of a story to what’s profitable for them to create.

kind of genius.

[r--kt]

Where actually was this betrayal line for Obito that Kakashi had crossed?

about the whole "anyone got Kakashi, but not Obito" thing that @komihoyinsblog said. I remembered where the culmination of this theme was. no, like, this whole topic is real!

let's talk about the scene after when Jubito was defeated. here I will analyse kkobkk relationships and Obito's arc specifically.

contents | context · meaning of the scene · where's a mistake and where's a betrayal

CH. 655

Context

during the battle with the shinobi alliance, Obito came face to face with a deeply repressed desire for another life, which he did not realize due to his position as the only one who can fulfill the tsukuyomi plan. the battle itself as well as the conversation with Naruto reminds Obito of the aspirations and values dear to him that he had to sacrifice. all this has noticeably hit Obito and now he is disarmed and stripped of his armor, which is metaphorically reflected in his half-naked body (and cuz fans love men's boobs).

CH. 652. god, look how happy he is, I'm sobbing. love the way he never regrets about his scars, they're with him even in his imagination, that's a reminder of his core values.

structurally, in Obito's arc, this scene is the Collapse point and the end of the second act. here, the previous methods (the tsukuyomi plan) have shown their inconsistency, and the goal (peace for everyone and for him, too) has not been achieved, and he must find a new way to achieve this goal. at the beginning of the scene, he is confused, defeated and not ready to face the consequences.

why isn't he ready? he's lying there, seemingly resigned. yeah, not exactly. here, he accepted the impending death, and it's even not bad to die by Kakashi's hand to some extent. another question is, is he ready to talk to him, is he ready to accept the defeat and find the strength to continue the journey?

Meaning of the scene

once again, it is important that the battle with the alliance and the conversation with Naruto influenced Obito, but did not convince him. it was Kakashi who did it.

in fact, this conversation with Kakashi is a crucial reason for Obito to return to his ideals. before that, he was in doubt (the second act is a reflection of the character, as if hesitating from one side to the other), and after that he takes the side of the alliance. what did Kakashi say that made Obito come back?

three questions Obito is asking.

how can you be sure that Naruto won't fail on his way, unlike me? [pic 2, above]

why are you so attached to Naruto, what's the difference between him and me? [pic below]

why are you willing to help him (and not me)? [pic below]

they don't talk about different paths here. Kakashi emphasizes that Obito's path is not exactly wrong, so that's not the deal. it's about Obito and Naruto as people, and, more, about Kakashi's opinion on Obito.

finding out why he is not the one whose path Kakashi is ready to defend is essential for Obito. he wants to understand why Naruto (aka Obito's previous self, too) is closer to him, why Kakashi does not support the actual one for whom he grieved so much. why, even recognizing the possible correctness of tsukuyomi, Kakashi refuses to support Obito in this, prefers to go the same way. and also look at how damn emotional he is at this moment, his feelings go from anger to anxiety in a couple of frames. that's what happened when the central conflict "I'm never good enough to be loved" is raised.

Obito's questions are a subconscious appeal to Kakashi — "why don't you choose me? I could make you happy. what's wrong with me again?!" he thinks that the reason Kakashi doesn't take his side is not because of the correctness of his path, but because of Obito himself. subconsciously, he thinks that it's because of Kakashi's personal dislike of this "new" Obito, and he is very afraid of this might be true. just look at his face at the bottom of the page, he's really worried about hearing Kakashi's answer. oh, and it's actually the same meaning as "I thought, maybe you could love me like you used to, even though I'm different" [ Jinx's quote from Arcane, yes, I like to compare these two sometimes ].

what Kakashi says in this situation means "let me help you." Kakashi said he would be ready to help Obito if he let him in, if he allowed him. this is literally the only condition (which is important to mention here) under which Obito did not pass, because of his desire to reject Kakashi's help, believing that he must put his life on tsukuyomi plan and cut off all ties. but this does not mean that he wanted Kakashi to cut off this tie in return.

Obito was an individualist, and he only scoffed or got angry at Kakashi's offer to help/sympathize. now they're in a situation when Obito finally hear that Kakashi said "you've made mistakes, but that's okay. I can be with you, if you need me to, and I'm okay with you continuing your life and reaching peace. I accept you and I believe in you." and I want you to appreciate that this is the tipping point of Obito's arc.

so, that's why Obito changes his way of acting. Kakashi shows that he accepts Obito the way he is, and thus significantly reduces Obito's need to prove his worth through his own hardships and overcoming difficulties. yes, Kakashi had already said similar things before, and it didn't work, but here this line is resolved precisely because of this deep conversation they had.

Where's a mistake and where's a betrayal

oh, maybe Rin's death was a thing Obito considered a betrayal from Kakashi's part? everything's much less trivial. would he offer to help Kakashi if he thought he was a traitor? and well, he offered.

CH. 630

no, look at his face on the bottom right, why would you say that with such a gentle face to someone you consider a traitor? what is it, a genuine smile? so something happened besides that.

the betrayal was that Kakashi preferred his other ties to the connection with Obito. here, betrayal is not about killing Rin, and not about breaking a promise — all these are mistakes that Obito is able to forgive.

all the moments when Obito says something like "you had the opportunity to kill me, but you didn't do it", "you can't deal with me because of guilt?", "still blaming yourself for the broken promises?" - all this is an attempt to increase his own value, to show the importance of Obito for Kakashi. and it's also a projection. Obito says, "you had so many opportunities to kill me, but you..." although he does the same. like, why would he leave Kakashi alive after the kamui battle? intentionally inflict a non-fatal wound on him and leave him in a dimension that only he and Obito have access to? "I don't care if he's alive or dead," but at every opportunity he chose the option "alive", even if it's less profitable for him. my baby loves to deceive himself so much.

all this time, Obito believed that he was striving for their common dream, and therefore the condemnation from Kakashi (there should be a couple more frames from the manga) feels like the most painful blow for him, especially when Kakashi says that Rin would not want it either. before that, Obito had compared himself and Kakashi a couple of times, put them on an equal footing, and after being rejected by him, that's where Obito feels really lonely.

the point of no return was precisely the fact that Kakashi shows with his own words that he does not accept the current Obito and everything he's been striving for years. all this, taken together, he considered a betrayal, as if he's not enough, as if he fucked everything up again.

therefore, their conflict is resolved by the acceptance of one person by another, this is in fact exactly what Obito's heart wanted — to hear that he could be accepted after all that had happened. the same thing happened after his death, when he finally met Rin, by the way.

hope the text is not that messy. oh, and! that kkob video I've made with mitski's song. this fits the topic so well. love these guys

[love-takes-work]

WHAT WAS THIS SHOW ABOUT?

One thing I really love about Steven Universe is that each of the four major characters kind of got a chance to be What The Show Was About. I would have LOVED spending more time with all of them and delving into who they were and who they became beyond what we got, but what we got was . . . actually pretty special.

STEVEN

As the ACTUAL main character and the show's literal namesake, it's obvious he's the protagonist. Our man has been through a lot and I don't suppose anyone would say he never got his moment considering he was there for the whole show. But except for some pretty important identity stuff that depended on his choices in the last episode of the OG show, a LOT of Steven Universe is stuff that happened to and around Steven. There was so much history and so much baggage that a lot of the story was about how he fended it off, dealt with it, fought it, reasoned with it, and managed everyone's emotions in the process.

Steven is set apart from the others in extraordinary ways: being half human, being extremely young, being Rose Quartz's son, and having Diamond-level powers and a claim to the Pink Diamond throne.

We had to wait for Steven Universe Future before the show was entirely focused on him, his development, his trauma, and his healing.

Some episodes from the original show focused on Steven's mental health and growth as a person--most notably "Mindful Education"--but we just didn't get to linger very long with his development until the epilogue show because plot stuff was always happening, other people's feelings were taking center stage, and worlds needed saving. I'm really glad we got Steven Universe Future for that reason. Some people disagreed, but I felt like it was a long overdue look into the soul of who he is--how his central defining character trait was his selflessness, and how desperately he needed to address that without having it manifest in a toxic way in the tradition of Jasper, White Diamond, or Pink Diamond.

AMETHYST

It could be argued that Amethyst had the most careful, nuanced, significant character growth of the three supporting Gems in the show. And it started immediately in the first season, when she constantly squabbled with Pearl and revealed that she felt judged and stifled and treated like a misbehaving child as early as "Tiger Millionaire."

Amethyst is set apart from the others in extraordinary ways: She's the clear outsider as the one who didn't fight in the war, the only full Gem from Earth in the group, the only Gem who grew up with no Homeworld dogma but also no roots, the only Gem who'd never met another one of her own and longed on some level for that connection.

The show continues to check in with Amethyst's self-worth issues throughout, giving us "An Indirect Kiss," "On the Run," "Maximum Capacity," "Reformed," and even "Cry For Help" (which seemed like an Amethyst episode until Pearl did her thing). We get "Onion Friend" when Amethyst shows us she thinks she's boring and that nobody values her. And we get "Too Far" when Amethyst really starts to internalize her inferiority based on Peridot's assessment of her and revelations of her origin.

With her cooking on that, we end up spending a string of episodes with Amethyst as the focus character. She's still shaking off dust about not doing what she's supposedly made for when a fight with Jasper twists the knife. She's beaten and insulted and almost physically destroyed, having to be rescued by Stevonnie. Steven misguidedly tries to cheer her up by letting her win at video games and she reveals that she thinks she's "the worst Crystal Gem." She finds an ally in him but still wrestles with her inferiority to Jasper. And when she still can't beat her in a rematch, she breaks down and realizes her strength is in togetherness. From there, she begins the process of healing, helped along by additional support from her family and finding some connection with meeting the Famethyst. When "Tiger Philanthropist" comes along and reveals that Amethyst doesn't need the outlet of wrestling anymore because she DOES feel she's good enough, we can reflect on what she's been through and how far she's come, and how that leads to her being the one who doesn't fall apart on Steven in the face of huge revelations about his mother.

GARNET

Garnet kind of peaked early, which is not to say it wasn't great. The final episode of Season 1 revealed her identity as a Fusion and further that she was "made of love," and then everyone was on the "Garnet is awesome" train.

Garnet is set apart from the others in extraordinary ways: being a Fusion all the time, leading the team and generally holding the others at an emotional distance, never asking questions, offering resources to the others for stability and balance, being the only Gem with Future Vision and a massive responsibility to use it well.

"Jailbreak" was a huge defining moment for Garnet, and as the "stable" character whose worst problems were mostly other people's problems, she did not seem to need a character arc. She was the culmination of a love story, always awesome and strong and dependable and everyone leaned on her, and in "Jailbreak" we found out why she has such an amazing foundation. But the show was not done with Garnet. Not by a long shot.

Pearl hurt her badly in "Cry For Help." Garnet's breakdown and subsequent focus on building Pearl back up was a significant look into how Ruby and Sapphire operate as a couple. Garnet is amazing partly because she is the result of all that work, but who is she as a person? As an individual who isn't an individual?

We see some of her struggle with leadership as the show moves on--most notably "Pool Hopping," and some of the last episodes when she can't make decisions in the Diamonds' shadow because everything's become about Steven's choices. But Garnet gets a spotlight again when Ruby and Sapphire feel differently about the Pink Diamond revelations and they worry Garnet only exists because of a lie. Digging into the real answers of who they are together through finally asking "The Question," and defining their fusion in their own image, was a move toward more authentic stability for Garnet. Her wedding made headlines, and watching her spearhead the immediate fight against the Diamonds on the beach was awe-inspiring.

PEARL

Pearl is initially presented as "the perfect one"--she's persnickety, she's organized, she's hyper-competent, and she's all about rules. But something else is going on with her not far beneath the surface. The first Gem to die onscreen--because of overconfidence and a silly mistake. The first (full) Gem to cry onscreen (and then over and over and over), the first to have a breakdown (and then over and over and over), the only one of the four to have faced an impossible choice, a relationship that nearly destroyed her, and a secret that ate her up from the inside. She was the only one who had (nearly) the whole story. All along.

Pearl is set apart from the others in extraordinary ways: the oldest Gem of the group by far, the one who served a Diamond and kept Rose Quartz's secret against her own will, the one who doesn't eat, sleep, or shapeshift. The one who both sat at royalty's right hand and existed as the lowest form of Gem life--created to be a servant, with programming no other type of Gem must live with. Her anxiety, grief, and desperate loneliness makes her one of the most multifaceted and interesting characters in animation history.

We see some minor wigging out from Pearl in "An Indirect Kiss" and a more intense version of it in "Space Race," but we get a much clearer picture that Pearl is Not Okay in "Rose's Scabbard." At that point we assume she thought she was closer to Rose than she really was--that she thought herself special and partial to secrets no one else knew, but that it wasn't true. "Rose's Scabbard" is a different episode on rewatch. Pearl is right that she alone was the one Rose "told everything." She did have a special relationship with her that the others did not.

Pearl's insecurity continues to bite us in the face as the show goes on. She tries to mold Connie into a self-sacrificial super-soldier after her own image in "Sworn to the Sword." Her deep need for someone strong to tell her what to do leads her to betray Garnet in "Cry For Help." Her inability to appropriately make it up to Garnet further complicates our understanding of how she can be so lost. Her jealousy, inertia, and angst frustrate her relationships, with some nice resolution in "Mr. Greg." Peridot's lore drop about Pearls' slave status sheds light on this, and seeing her get underestimated and bossed around by other Homeworld Gems is disheartening as we move on, but when we finally find out that she was Rose's secret accomplice in a false murder that poisoned thousands of their own citizens and led to massive waves of death, and that Pearl's free will to speak about it was also ripped away from her, we finally know, we know why she's been so brittle she could snap all along. She's been trapped inside herself all this time--in an almost literal way--and it's a wonder she's managed to carry on. Pearl's arcs have often been deemed the most emotionally fraught and tinged with gray morality.

These characters all got some very important story arcs focused on them in the midst of moving the plot along. I think the show did a phenomenal job with not only emotional development but with fallout for the other characters. We got to see the Gems' (and other loved ones') reactions when Steven's mental health took a nosedive, and watched them learn more about how to be there for him. We got to see Steven's initially misguided attempts to hype Amethyst up when she was spiraling, leading to him offering her what she actually did need, along with Garnet and Pearl (as Sardonyx) misfiring a bit when they wanted to celebrate Smoky Quartz. We got to see Steven's curiosities and misgivings about Garnet's life as a Fusion, and how Garnet affects others when she does crack under the strain, and how Steven must step up to leadership when Ruby and Sapphire are separated and how Amethyst tries to take care of him while Pearl has a guilt spiral. And we see how Pearl's choices led to Garnet's silent treatment, Amethyst's sulky helplessness, and Steven's attempt to hold the family together; we see how Pearl's confession reformats everyone's understanding of who the Crystal Gems are and why they're even here.

And even when the show is taking careful turns with each character to paint their nuanced feelings and troubles on the screen, it still managed to give us such a worthwhile overall story, with action and backstory and worldbuilding and everything. What's different about it is that the center was always its people--their relationships, their psyches, their evolution and education. I truly love the balance these creators chose, and I remain grateful that we got to experience this story.

[bubblergoespop]

some rambles abt the patreon bonus scene of sam and porter <3 i was gonna wait until the audio released publicly to post this but idk when that's gonna happen so ta daaaa yes ik the audio came out like half a month ago shushhh

okie so first of all, i'm so happy we got another bonus scene like the first one with lasko, huxley and damien and the one with sam NAME DROPPING porter. they've always been fun and exciting and OHHH I LOVE just having audios that are structured slightly differently and these kinds of audios aren't always necessary for understanding the main plot but they reveal so much more about characters, i love them. erik please make this one public so the people can hear it, i'm begging you.

OH EM GEE i love porter and sam's dynamic so much! they're not blood related, not even vampirically, but you can't deny that they're literally family. porter making the classic old man jabs at sam and acknowledging that people always make those jokes towards sam, oh they're brothers.

porter saying "apparently i've become predictable in my old age" just has me questioning how old he is again. i mean, i've always assumed he was AT LEAST vincent and sam's ages but i've never really thought of him as a proper old vamp. just because his personality is youthfully mischievous and he's often just straight up immature in my opinion. was this just an exaggeration or is porter much older than sam? i doubt he's much older to be honest. hearing what went on in his life so far, i don't think there's enough there to make the assumption that he's got that many years behind him.

oh and porter also saying that the solaire clan is an institution that has kept sam and vincent "comfortable, satisfied and most of all SAFE" HAS GOT ME THINKING AHHH!! i hadn't considered that leaving the house would make sam and vincent vulnerable to enemies of the house and now i'm thinking back to the summit when deon wright mentioned that quinn must have come from somewhere, with possible allies that are still yet to appear. even if sam and vincent leave the house and do their best to distance themselves from william, they're still of emotional value to will and therefore are still a weakness of the house OHHH IM GETTING EXCITED

oh and porter's inability to hold in a scoff at samuel HE'S SO SASSY I LOVE HIM especially when he's all huffy and puffy.

"i am a vampire but that doesn't make them my people. i'm a healer. i'm a mate. i'm a friend. i'm a hellion when i wanna be. i'm a lot of things but i'm not that kind of person." sam i'm gonna sob into my pillow.

i adore how erik shows that despite all their bickering and downright mean attitudes towards each other, sam still cares deeply about porter - "you gotta live your own life the best way you see fit, porter. and i wish you well in it. i really do." oh and porter definitely also cares deeply about sam and vincent. i've said before that they're the closest thing he has to a family and i think porter mentioning that leaving the house not only endangers sam and vincent but also the people they care about shows that porter cares not just about sam and vincent's physical wellbeings but also their mental wellbeings. he cares about sam and vincent and by extension those they care about as well.

i like to think vincent attempting to call porter in porter's hbs is also a sign that somewhere in his heart, vincent cares for porter too. especially after learning a bit more about porter at the summit. hence why he wants to talk to porter about everything that's going on now.

"there's a place for you on this side of the table, if you want it. we just wanted you to know that." SEEEEEE SAM CARES HE REALLY DOES DESPITE IT ALL

sam acknowledging that porter's habit of constantly fighting anyone and everyone he encounters is a self destructive one and is NOT going to end well if he continues just leads me to believe that erik has something up his sleeve for this. either porter's relationship with treasure (arguably the healthiest one he's currently got) is going to help him heal from that constant need to fight or this addiction is going to lead to something horrible (but entirely avoidable if porter would just leave it be). oh what fun!!

[madlori]

If the only thing you can lord over buddie is that bucktommy is canon, then you really didn't care at all about the ship.

7 seasons of being a family unit, being there for each other, having each other's back but hey! Here comes another underdeveloped love interest, but since it's a man this time, you don't care about Buck being stuck in the same hamster wheel, again, because he's kissing a man and that's hot 🙄

Also for all your doom and gloom about buddie not happening, do remember that Tommy/Eddie was an idea in Tim's mind at first, so Eddie can be read as queer, even if it's not in canon yet.

I guess you don't place much value on them being a family unit and always there for each other, and having each other's back...all of which is still true and will continue to BE true. But it's only important to you as a prelude to them kissing, right? It has no value in and of itself. I love their relationship. I love what they are to each other. But YOU are making me not want to see it, because every time they turn to each other, lean on each other, support each other, we have to listen to you shrieking BUDDIE CANON CONFIRMED or whatever, because to a certain genre of shipper (not all buddie shippers, etc) any interaction or feeling they have with each other exists only in service to the ship.

I swear to god, I'm gonna banish the phrase "hamster wheel" from y'all's mouths until I get an actual definition as to what you think it means, because from where I sit, to you it just means "he's with someone who's not Eddie." To me, it means that Buck continually fell bass-ackwards into relationships that weren't right for him, looking for something he wasn't even sure what it was. And heyyyyy, he's currently in a relationship that he actively chose and fought for, having learned something new and important about himself, with someone who makes him giddy and excited in a way we have never seen him be, who the people around him can see gives him contentment. But none of that matters, because it's not Eddie, and that is by definition his only appropriate partner, so he must still be on that hamster wheel. Also if we're going by creator intent here, Tim's said he wrote this relationship specifically to reflect Buck being off of it.

As for underdeveloped love interest? I wrote an entire ass essay about how MUCH we know about Tommy, and it's reams compared to anything we've ever known about Buck's girlfriends OR Eddie's current girlfriend who does not even have a last name. Tommy has been introduced in a way that integrates him with the 118, with multiple interests, a character arc of his own from his first appearance, a set of motivations and emotional arcs that are NOT about Buck, and something to actually offer in a relationship besides existing. Anyone saying he's underdeveloped is determined to read him as such, especially for the limited amount of time we've had him.

And I never said Eddie couldn't be read as queer. He can EASILY be read as queer. I said he WOULDN'T be. Those are two different things. If Tommy and Eddie had gotten together (which I give no more narrative weight to than Maddie and Eddie getting together, which was also a gleam in the eye at one point) I'd equally be saying that Buck would never be queer.

It's hilarious to me that I'm being accused of liking a ship because it's hot (it is, and I do, and that's...fine? there's nothing bad about that?) as if people enjoy Buddie because of the amorphous purity of it all and not at ALL because it's hot (it is and you should say so).

If my thoughts about this are so upsetting to you, just block me, dude. I promise I won't take it personally.

Also, just...learn to enjoy a ship whether it's canon or not. I've done it, we've all done it. It's not that hard, especially THIS ship, which has so much good stuff to it regardless of whether there's romance or not. Those of us who like Buck with Tommy are not taking away from you enjoying Buddie, or anyone doing so. It's not like...the State of Buddie will lose congressional representation if the population falls below a certain level. The existence of another ship does not affect yours.

[chaoortu]

listen i know i yap a lot about nick and neurodiversity in my fics but it's like. every time i reread heartstopper it really jumps out at me and i'll probably reblog this again with more thoughts as i continue my reread but like.

it strikes me as interesting that despite the fact that nick gets called a chav pretty early on by tao, we never actually see nick acting that way on page. i think the show does a good job at showing how nick has sort of chameleoned himself and stuffed his real personality down but the show is a topic for a different post. in the webcomic we see it once when charlie is teasing him about being laddish and nick decides to act that way for a laugh. on one hand, i chalk this up to most of the early webcomic/heartstopper in general being in Charlie's pov. he wouldn't have noticed these things about Nick because they didn't really notice each other until their meet cute, which is realistic. I think it also speaks well to Charlie's character that he takes who Nick is at face value and challenges Tao's opinion of him. but what jumps out at me is that in harry's birthday party we sort of see the first instance of nick's "meaner" side and it's in the context of defending Charlie. Still! The first instance of this really sunshiney character taking quite a big turn!

But notice how the dig isn't personal? These are all observations about Harry that can be deduced in the context of the material before it. That is to say, despite being friends with Harry since he was like 11, Nick keeps it simple. It reminds me a lot of how you correct a dog's behavior in the moment and I can go on for ages about Nick and dogs but again-- that'll be another post. What follows this really intense moment is another really intense moment when he and Charlie are alone and like yeah, they're teenagers, being teenaged is intense enough. But after their kiss, we have this panel and my God is it one of my favs:

I really love how Nick is framed with flowers in this scene because it really feels like it's him blossoming into himself in this moment where it's just him and Charlie. Charlie is shown over and over again to be Nick's safe person in comic and while they are obviously falling in love way before this, I still feel like this is the moment where Nick decides it's safe to love Charlie (I mean duh, they kiss a LOT in this episode), or rather, to hand Charlie his emotions and feel like they won't be fucked with or used against him. And that's huge! Nick wears all his feelings on his sleeves, he's not even slick about it either-- the fact that Christian, Sai, and Otis pick up on the fact that Nick has a thing for Charlie before he does speaks a lot to the fact that Nick doesn't seem very aware of how much of himself he gives away on the regular. Which again, in juxtaposition with the fact that he's perceived as a judgmental rugby lad by Tao (which, grain of salt here. I love Tao a lot but he's also quite judgmental in his own ways so this is a pot and kettle situation), and the fact that his own mother comments on the fact that he's much more himself since befriending Charlie? That's MASSIVE. I dunno. I could be projecting here but as an autistic teenager who did everything in my power to be like my peers and lowkey hated myself for it, I find this incredibly relatable. We see Nick starting to realize that a lot of his friends are dicks several times before he and Charlie kiss for the first time, and that's also relatable. It took me so long and still takes me so long to realize that people I thought were friends are actually quite shit. Again, I could be projecting but it reads very neurodivergent to me that it takes Nick being exposed to someone who is actually kind to him (Charlie) to realize that his friends aren't kind people. Insane tbh! Something else that got me is that we see Nick struggle with the fact that he really likes Charlie and wants to stay with him vs. the responsibility he feels to regroup with his friends. I don't actually think it's responsibility. I read it as Nick putting his mask back on and resuming the expectations he's been bearing since before he met Charlie and it's a visible struggle for him.

Nick, while pretty unaware of the fact that he can be read like a book, is also incredibly aware of the role he plays in his own friend group and the ways in which he has to perform. But he doesn't like it now. His early love for Charlie really puts things in perspective for him that he doesn't have to accept where he's at currently if he's unhappy and we get that moment of regret where we see that he knows he fucked up by leaving Charlie.

It looks like he's disassociating here. That, or his mind is still in that room with Charlie. It's a battle of expectations vs. what Nick wants. And Nick's wants are never Nick's first priority. He's a pathological people pleaser after all. And despite the fact that he just fully made out with another boy despite barely having figured out that he likes guys and the ethics on Charlie kissing him without asking (teenage stuff, I'm not arguing about it rn especially because this doesn't bother Nick in canon. idk why this discourse exists but maybe i was just making out too much as a teenager) The next day, Nick clears the air. Literally runs to Charlie's in the rain so they can talk it out and so he can be understood properly. He's desperate to make things right with him because 1) he's in love and 2) he cares a lot about Charlie's feelings to the point of putting them above his own later in the story. But the way he does it and the way he sort of overexplains his feelings almost constantly really strike me as neurodivergent. Nick goes above and beyond explaining how he feels to make sure nothing can be misconstrued and that really gives me the sense that Nick is... somewhat aware of the fact that people assume how he feels? Granted, this is coming off the heels of everyone saying he was in love with Tara, so maybe he felt the need to explain himself more since some people think one pre-teen kiss = fairytale love. (ignore the fact that Nick's fairytale kiss with the flowers totally equaled fairytale levels of love for him, lol.)

He literally explodes! Charlie is physically taken aback by his words. This happens right after Charlie has his big "I shouldn't have kissed you this was all my fault" etc. explosion. Which! The fact that Charlie explains how he feels down to feeling at fault and sharing that with Nick, who is very much like no.. no nO WAIT. I LIKED IT. (so much that he kisses Charlie to get him to understand that pre-explosion). And again, we sort of see Nick trying to bottle and be a bit more normal about it immediately before when Charlie tells him he's getting mixed-signals. Nick's response was to unmix the signal and then cry about it because THIS. IS. A . LOT.

For a cis-male character who is involved in a very masculine sport, surrounded by masculine people who are not nearly as emotional as he is(on page at least) the fact that Nick goes above and beyond in this moment where he's so vulnerable to ensure Charlie understands him is hugely neurodivergent to me. He's making sure Charlie gets that Nick loves him, he's making sure he gets that he's not mad about the kiss, and he makes sure Charlie knows he feels bad for leaving him behind. His bases are covered! There's no room to make assumptions about how he feels and I imagine for Charlie, a chronic overthinker, the fact that Nick is so blunt about his feelings all the time must be fucking incredible. He can actually take Nick at face value (at least at this point in the story ). But especially after Ben's gaslighting shit? Like fuck! I'd want to jump into a relationship too if the guy I've been crushing on for like two months ran to me house in the rain, kissed me, cleared the air, and then cried in my arms. I love emotional honesty! It's also interesting to me that it seems like his confusion towards his sexuality bothers him a LOT more than his feelings for Charlie do. He likes being in love with Charlie, that much obvious, but it's this conflict within himself that bugs him. And idk, I could be projecting again but I just can't see a neurotypical teenager reacting like that. To me, it really reads as Nick going. "Okay, I like kissing Charlie and being around Charlie. I'm in love, this is good. Check." but then his sexuality is a huge gray area until he does more research on bisexuality and decides that's the label he wants to use and I think the not knowing is what really bothers him. There's a lot of pressure in queer spaces especially nowadays to be labeled and for Nick, a character who buried his personality to be accepted by others, to specifically be upset at being confused about his identity reads as neurodivergent to me. Nick, by all accounts, doesn't seem to really care about his sexuality except for the way it challenges who he believed himself to be up until this point and what that means to the people around him who think he's just some straight laddish dude, you know? Largely, he also seems rather apathetic towards sexuality and gender in general except when he has to confront his sexuality and how other people will perceive him if they knew what his sexuality is-- hence keeping things between him and Charlie a secret despite the fact that he's never ever been shown to be ashamed of the fact that he loves Charlie.

Anyway, this post got way too long. Enjoy one of my favorite OCD/AUDHD moments between Nick and Charlie. THEY LITERALLY KISSED LIKE TEN MINUTES BEFORE THIS MOMENT... INSANE BEHAVIOR... I love them. The sillies.

[tomurakii]

My last post about bloodweave was pretty negative (though necessarily so imo) so I wanted to talk about the little things about the bloodweave dynamic that I DO like and want to see more of in fic (under the cut).

- the orb means Astarion can't start their relationship transactionally. Gale can't give Astarion blood, and also can't have sex with him (and presumably would refuse casual sex anyway). How would the relationship develop without Astarion being able to rely on the give-and-take, forced instead to just trust Gale will watch his back? Astarion isn't a plans guy, I imagine having to come up with something on the spot (considering none of the other companions are reeaaaally an option either) would lead to a lot more emotional vulnerability as he tries to take a route he has much less experience with. Not to mention that the flirty and standoffish front isn't exactly going to endear him to Gale, who approves of the capable, loyal, and righteous. How long can Astarion pretend to be invested in Gale's wellbeing before it becomes true?

- they both have bad ascension endings, but different natural outcomes. Gale is considered the more morally upstanding one, but in their solo states (without the player's influence) Gale will go through with ascension and Astarion won't. Would they goad each other on? Gale disapproves of Astarion's ascension, using arguments that could apply to himself about the personal sacrifice and loss of the soul. Would Astarion flip them around, become defensive? Their dynamic could mean the power hungry character ending up discouraging the pursuit of godhood, or the two of them hurtling over the edge together. Or, maybe, Astarion encouraging Gale to ascend and having to trust him to return.

- they're the party members with the most life experience, and they're also both pretty well-educated (even if Astarion's law qualifications may well have expired by the events of the game). He spent his time under Cazador sewing (like Gale in his Baldur's Gate epilogue) and learning languages (of which Gale knows four). They have enduring common interests beyond their circumstances. Gale can help Astarion rediscover the latent nerd potential he lost when he died, and lord knows he would love to pick his brain for a first hand account of the mid-to-late 12th century.

- Astarion recently regained hope for his future when the tadpole freed him, Gale recently lost all of it. While act 1 is a continuous series of positive discoveries for Astarion (tadpole frees him from cazador -> ceremorphosis is held off by the dream visitor -> tadpole can be controlled), Gale's life gets worse with time as his treatment stops working. It's a dynamic that could give Gale hope, force Astarion to practise empathy, or put them completely at odds.

- Astarion's all-encompassing desire to reclaim his life could be inspiring to Gale. Moreover, I imagine seeing just how passive Gale is about his death would infuriate him. To have so little regard for his real, mortal, free life? It's a great source of angst, and also a great starting point for Gale to start wanting to live again. Because after learning about Astarion's past he would agree, he'd recognise how much value a mortal life was supposed to have. He'd think himself ungrateful or impolite for entertaining the idea of throwing it away when Astarion would give anything to have what he had. This would lead to guilt, and potentially self-loathing, unless someone was there to help pick up the pieces.

- If Astarion meets Oblodra before Gale's act 2 romance scene, (or for a fanfic plot, just before Gale is confident enough to confess) they most likely won't have sex until the graveyard scene in late act 3 (or the post-ascension equivalent). It means that rather than the fuckfest we so often see from bloodweave fics, the relationship is almost entirely a slow-burning, emotionally intimate affair. I'd really love to see that play out, the progression from semi-horny yearning on both parts as the orb keeps them apart, to two love confessions that are followed by the both of them experiencing non-sexual intimacy for the first time in years. I doubt Mystra was one to hug her chosen, after all, or hold their hands.

I just love a bg3 ship that forces the characters to take different actions than they do in canon. It makes me feel like I'm developing a broader understanding of the characters, you know?

[championari]

True Love: Why FifteenxRogue Works

WOW. Man, that Rogue episode, huh? Watching that live was probably the greatest experience I’ve had recently regarding Doctor Who. Not just as a queer viewer, but as a queer media analyst. Fifteen and Rogue truly feel like a relationship written for me to analyze, because there is simply so frickin’ much to talk about. So, allow me, gentle reader, to be your Lady Whistledown of queer alien fuckery, and guide you through analyzing the latest dalliance of our Time Lord extraordinaire with the most honest bounty hunter in the galaxy. 

We’ll be covering a LOT of ground in this: the theme of facades/masks, an interrogation of The Doctor’s perception of romantic relationships, and a deep dive into The Fifteenth Doctor’s character overall. So, needless to say, this is going be a LONG LONG piece. Grab a snack, some water, whatever you need, cause we’re going deep on this one. 

You’re still here? Fantastic! Then let us begin! Specifically, with the Fifteenth Doctor himself. Because above all else, this episode works as a dissection of his character overall. 

I’ve already done two metas regarding The Giggle’s ending and The Doctor’s perception of romance pre-Season 1/14, so if you want more elaboration, go read those here: 1, 2. But in case you don’t, I’ll sum up and expand based on what we’ve learned since. 

The Doctor, as a character, has always struggled with commitment and attachment. They never stayed in one place for long and when they did, they had an unhealthy relationship with it (Trenzalore, Darillium, Bill’s University). Romantic connection is a permutation of this larger issue, as every romantic relationship we have seen The Doctor take part in since 2005 either was unbalanced (holding back problems/outright lying) or ended in a really bad way.  However, thanks to the 60th specials and a bi-generation, The Doctor went through a massive change, and with it, came a new perception of openness and love. Fifteen is more expressive, and willing to verbally identify beauty. He openly points out how beautiful people are, and talks about previous exploits with pride. But this supposed openness betrays a deeper dishonesty still inside the Doctor. As much as Fifteen talks the talk of openness, he doesn’t often walk the walk when things get tough.

Fifteen’s character struggle is trying to break out of the Doctor’s previous patterns of unstable attachment and commitment while continuing those patterns. He values emotional honesty and encourages it in others yet simultaneously runs from it when the spotlight is on himself, even when he knows it’s beneficial and necessary for him to do so. So, with all of that in mind, let’s deep dive into Rogue (the episode, not the character, but also the character).

The best word to describe this episode is ‘deception’. Setting the episode in Bridgerton-esque Regency-era England was an appropriate choice, likening to a show that is all about facades and posturing to gain wealth and social standing (yes I am oversimplifying, don’t hurt me). Throughout the episode, we see characters who aren’t who they present themselves to be and use all manner of tools or tactics to disguise themselves to meet their ends. 

We have the Chuldur, creatures who gain pleasure from cosplaying. They thrive on creating fake entertainment for their amusement, honesty is useless if it can’t satisfy them. While this is meant as an obvious commentary on fan culture and how dangerous it can get when taken to the extreme, it also functions as a darker reflection on The Doctor’s habits. Because think about it: what are Fifteen and Ruby doing in this episode? They are having fun, dancing alongside the other partygoers. They’re wearing the outfits but only to blend in. Ruby doesn’t know how to dance, she has to wear psychic earrings to keep up. She watches the fake fight between ‘Emily’ and ‘Lord Stilton’ like she would watch an episode of Bridgerton. Her fight with Emily later in the episode is set to Lady Gaga’s ‘Poker Face’ playing in the background.

What we’re seeing in the villains is The Doctor’s pastimes becoming toxic, taking a companion and bringing them to a culture far removed from their own. But it’s not only a commentary on The Doctor overall, it’s also Fifteen’s philosophy in a darker context. Posing as sincerity and maybe containing it to some extent, but ultimately not completely honest. Through the setting and the villains, the episode is already priming us on a subconscious level to be thinking about disguises and dishonesty, a topic that both The Doctor and the Fifteenth incarnation specifically have a complicated relationship with. And then comes Rogue.

Rogue himself is such a fascinating part of the episode because he is such a deliberate disruption to this cultivated environment of deception. Rogue is the complete antithesis of everyone in the plot. He’s terrible at improvising, he’s socially awkward, he dances without needing psychic earrings, and he never cleans the inside of his ship. Rogue intentionally disrupts the narrative of lies by not being able to play the game. Even when he tries to wear a mask, the mask of an uncaring bounty hunter, He doesn’t wear it well and gets rid of it after the ship scene with The Doctor. Rogue is a character who cannot help but be who he is, he’s a character who not only can’t wear a mask but doesn’t want to. To put it simply, honesty is Rogue’s kink. That’s why the episode is named after him; it’s not just because he’s a central character, but because he provides the counter-argument to the themes of lies and deception. Rogue, the disruptor to The Chuldur’s acts of fake entertainment, and the disruptor to The Doctor’s act of cosplaying with Ruby, and on a deeper level, disrupts Fifteen’s oscillation between sincerity and repression. But we’ll get to that, we have Mount Everest's amount of context to analyze first, starting with their first meeting.

The Doctor and Rogue’s beginning scene sets the stage for the main obstacle in their relationship: their masks. ‘Cause right now we’re operating with two versions of the characters: the facade/mask versions, and the real versions. We get our first look at Rogue when Fifteen looks around for interference on the psychic earrings. He finds him being the most conspicuous while wearing the ‘bounty hunter’ mask: on a balcony (separated from the party physically), not speaking at all. 

He is standing out here but only in the way someone who knows disguises would recognize. The Doctor, remember no. 1 liar, of course he’s gonna recognize that. So much so, that he gives Rogue pointers on how to put on a better “brooding” face, literally teaching him how to wear the mask better. Rogue is an amateur mask wearer, going up against the master of mask-wearing. And that’s why Fifteen smiles when he sees him, he’s intrigued by that contradiction and wants to know more. 

Rogue meanwhile, is being rude and dismissive to scare him off, trying to keep to the mask he’s built. At this point, he knows that Fifteen also stands out from the rest but right now is assuming that he’s still a random partygoer. Notice what he says to him: 

He’s still using language and ideas someone from that era would understand. Where this deviates is this little exchange that felt familiar to me, but I couldn’t figure out from where. Until I remembered this:

(credit to @ngatwa for this set, you're amazing)

This is the first instance in the episode where Fifteen and Rogue’s relationship calls back to previous romantically-coded relationships The Doctor has had between companions. But it’s not just romantic subtext, it’s subtext that explains where the two are in the relationship. Victorian Clara was far more than what she appeared to be (a governess masquerading as a barmaid/echo of a companion scattered in the Doctor’s timeline), and the Doctor was more than he appeared to be (an alien who lived in a blue box). In asking those questions, it’s both recognition of the masks and inquiry for the real person underneath. Same thing here: Rogue and Fifteen at this point are trying to figure each other out, trying to see beyond the masks of the uncaring bounty hunter, and the flirtatious partygoer. Where things start to go wrong is that neither party fesses up to who they are. Rogue instantly assumes Fifteen is The Chuldur he’s looking for, while Fifteen assumes Rogue is a regular partygoer looking to…*ahem* create a scandal in the gardens if you get what I mean. This explains why a violin rendition of Billie Eilish’s ‘Bad Guy’ plays in the background. It’s not just a Bridgerton reference, it’s contributing to both characters’ perception of each other in this scene: both characters think the other is the “bad guy”. The lead into the scene is deception, we leave it the same way. No breakthrough yet. 

Now we’re moving on to the scene in the garden, where both masks of Fifteen and Rogue begin clashing with their real personalities. Fifteen is still being semi-sincere, still complimenting Rogue. And like water, all of it is rolling off of him because he’s still under the assumption he’s talking to a shapeshifting alien. He rudely asks about The Doctor’s info dumping and doesn’t respond to The Doctor’s compliments.

(credit to @klausbens for the gif, you're awesome)

He’s not engaging because he thinks the Doctor is not who he appears to be, and for a character that values honesty, everything Fifteen says is gonna wash over him. The moment this changes is when the two are accusing the other of the murder. Quite literally finishing each other’s sandwiches (C’mon, you know I had to throw a Frozen reference in this somewhere). 

This is a very interesting scene given our current context. Trope-wise, this is meant to communicate to the audience the bond between the two characters, they’re thinking the same thing. But the trope is flipped on its head because both characters take it in opposite directions. Both Fifteen and Rogue are in perfect sync, they are being honest about how much they understand about the situation, but that information is leading them to completely different conclusions (i.e. the other person is the Chuldur). They’re slapping more masks onto each other, this time with information they know is true, which leads to them locking in their heels and simply not being honest altogether until later. This scene is a repeat of the previous one, except this time it’s them showing their hands a bit more, making the backslide all the more difficult. Getting close to sealing the deal, then heel turn at the last minute, a classic Bridgerton move. 

So, what needs to happen to break this backslide? Well, plain and simple honesty. The scene on Rogue’s ship is when both masks start coming off. What Fifteen is doing on the ship during the scene is essentially trying to figure out Rogue. He finds out the ship is meant to be piloted by two, and he discovers the origin of Rogue’s name, the Kylie Minogue music. Which is a moment I want to zoom in on. Right before this happens when Rogue gives a cheeky response to Fifteen finding out about the name, Fifteen makes a joke and starts emphasizing his Scottish accent. This is Fifteen putting on another mask to make a joke, and Rogue doesn’t appreciate that, given his dirty look. 

Then Fifteen finds the music, which he then again uses as an opportunity to joke around and make fun of him (and flirt a little bit with him).  Fifteen is removing Rogue’s mask, while he is staying enigmatic and mysterious, which is why Rogue is still stonewalling him. HOWEVER, two can play that game, and Fifteen makes a big mistake in showing Rogue the psychic paper. This is the first time Fifteen is completely honest about his feelings towards Rogue. No mask, no posturing, complete honesty. And we see Rogue responds positively to this: 

This is the first time the two are both on the same level, communicating honestly. And that’s where we start to see genuine romantic feelings and attraction. 

But it’s not enough, so what does Fifteen do? He pulls out the big guns. He shows Rogue the truth: he’s a Time Lord from Gallifrey and has lived many different lives over hundreds of years. He not only rips off his mask, he quite literally reveals all of the other masks the Doctor has worn throughout the ages. And what is Rogue’s reaction to this? 

Complete besotted awe. If honesty is Rogue’s kink, then The Doctor revealing their faces just supercharged it. This is the moment that Rogue falls in love because he’s finally seeing who this mysterious flirty person really is. 

Now, I’m gonna pull out another previous Doctor romance for two reasons: One, I’ve been seeing this comparison floating around for a while, and if you know me and my old analyses, it’s that I cannot leave an inaccurate take alone, and two, because I think it applies here. I’ve been seeing comparisons online of this episode to Girl in the Fireplace, in which a new character falls in love with The Doctor and gets the rare opportunity to see their true self. But what makes Reinette different from Rogue is that honesty kink. Reinette was attracted to the mystery of the Doctor, her childhood hero who somehow doesn’t age. Note when he comes back the first time, she focuses on how strange he is:

She learns more about them later, but she was already in love with them before that. Rogue doesn’t want the mystery. In reality, The Doctor wearing masks is a turnoff for him. He only wants the real thing, so when Fifteen reveals the truth, that’s when the genuine romance begins. 

(We could also extend this comparison to the discussion of consent: Reinette found out everything without The Doctor's permission, while Fifteen revealed all the info by himself, but whether we can consider this consensual depends on your definition of consent under duress/threat. So I’m not entirely sure what to make of this conversation, feel free to expand in the tags/replies cause I want to hear more about this)

So now we’re moving along to the TARDIS scene. We continue with the theme of disguises with the whole “bigger on the inside” routine, Fifteen riffing as Willy Wonka for a hot moment singing Pure Imagination, and we have Rogue’s momentary slip-up:

(credit to klausbens for the gifs, you're awesome)

This is a great sign of character growth because while he’s maybe not wholly honest about his feelings towards The Doctor, he still is open about his love for the TARDIS, an important part of The Doctor’s life, so big step right there. 

I want to pay attention to the heart-to-heart here because watching what Fifteen says and how he reacts is extremely important to getting his view on the situation. Because right now, I wouldn’t say The Doctor is in love with Rogue back. While there is a lot of attraction and hints at a deeper bond, Fifteen is still operating with most of his mask on. Notice that when he asks Rogue about the person he lost, Ncuti Gatwa’s blocking has him leaning on the railing at an angle to the side of Rogue. He’s purposely staying at a distance, yet is leaning on the railings to appear casual. 

And when Rogue starts opening up, he moves closer and they’re at equal distance from each other.

We get a really sweet (and allegorical to the queer community) moment about The Doctor’s motivation of living out of respect for the dead, to keep living each day that they lost. And then we get Fifteen inviting Rogue onto the TARDIS. I want to focus on this because he doesn’t seem upset or disappointed by Rogue countering this offer by inviting The Doctor to travel with him, meaning he doesn’t see this as a “take it or leave it” offer. In fact, the compromise Fifteen comes up with, “let’s argue across the stars” and Rogue accepting it, is what leads to the almost kiss. So that prompts the question, what is Fifteen trying to say here? 

Well, what Fifteen is asking for is to continue seeing Rogue. It doesn’t matter to him if he’s on the TARDIS or not, all that matters is that he still has him in his life. The choice to see him more. Why does that sound familiar? Because that’s exactly what I wrote about in my dissertation on The Giggle’s Ending: 

“In giving Fourteen their own TARDIS, Fifteen is allowing his younger self to have what they always removed from the equation: free will. The Doctor can still go anywhere they want, which makes them even more motivated to stay and fix themself. Fourteen can feel safe staying with Donna, Wilf, Mel, Rose, Shaun, and Sylvia because the option to travel is still there.”

Fifteen’s love language is giving the people he cares about the freedom to express the love they already have within them. He values freedom above all else, and when Rogue accepts that freedom, that’s when we get the almost-kiss. This is the moment where The Doctor falls in love with Rogue back because it’s Rogue being willing to meet The Doctor where they’re at. He’s allowing Fifteen to set the pace and not force himself on him. 

Additionally, this willingness to be as slow or fast as The Doctor needs means far more to The Doctor overall than to just Fifteen. Many people have already pointed out the similarities between the line “let’s argue across the stars' and previous lines the Doctor has said to villainous characters like The Master and The Toymaker:

"We can take your games back to the stars."

"We can fight across the constellations if that's what you want".

Now, why is that? It’s because again, The Doctor’s perception of Rogue is evolving in this scene. Remember, up to this point, The Doctor doesn’t entirely know Rogue’s morality. All they know is that Rogue is a bounty hunter, and is not afraid to use his gun when he deems appropriate. There’s even a little line in this scene before the heart-to-heart where Fifteen specifically imposes his own brand of morality on the situation: “Whatever the Chuldur has done, I can’t let you kill it.” Now, we know that The Doctor’s morality and romantic life can conflict: River being a known murderer/psychopath, their longtime situationship, and later attempted rehabilitation of The Master/Missy. This is another feature of The Doctor’s character: while they do act like they have the final say on what is right, they also compromise that morality for people they care about. 

Like how The Doctor surprised Rogue by showing all of his faces, Rogue surprised the Doctor right back by not only being honest about his past but by being willing to accept The Doctor’s compromise. This moment is when The Doctor finds out that Rogue is a good person, and that The Doctor doesn’t need to compromise their morality when entering this relationship.

This heart-to-heart is about Rogue not only winning over the Fifteenth Doctor by agreeing with his values of freedom but also winning over The Doctor overall by just genuinely being a good person. But of course, the moral duty of taking care of the Chuldur rears its head in the form of the TARDIS alerting that the trap is ready. The bubble has popped and we still have a long way to go. 

(Plus, Fifteen’s facial expression in this shot perfectly captures that trademark “Oh.” moment, realizing you’re in love with someone but then taping it down to focus back on the immediate problem. Love you Ncuti Gatwa, you do great work)

Alright, now we’re at the dance/fake proposal scene. Oh lord, so much happens here with both dialogue and production regarding character, so let’s take this one at a time. Fifteen, Rogue and now Ruby have figured out the big plot regarding the Chuldur, their obsession with cosplay and dressing up to create drama. In response, Fifteen comes up with the idea to essentially beat them at their own game: create a fake scandal to draw them out. 

Now on paper and in terms of beating the bad guys, this is a plan that could and does work, but in terms of his relationship with Rogue: THIS. WAS. A. BAD. IDEA. Why? The very idea of masks and faking not only was the leading cause of them not connecting in the beginning but specifically doesn’t work with Rogue. You can see it in how Rogue nervously looks at Ruby and Emily when Fifteen asks him to dance, and even questions the validity of the plan: 

(credit goes to @carricfisher for texted gif, you're awesome)

It’s not just that he doesn’t know about homophobia, he just doesn’t like the idea of pretending at all. But the reason why it doesn’t collapse right away is because it’s not entirely pretending. The dance may function on the surface to create a scene, but for Rogue (and Fifteen albeit to a smaller extent) it doubles as an intimate moment between them. This connects to the choice of dimming the lights in an unrealistic way (which btw, as a film student, had me going insane watching it live). We’re seeing a deliberate break in reality, a dishonest showcase of the story being told, that serves the purpose of highlighting an ultimately honest and sincere act of love. Both The Doctor and Rogue are warping the aesthetic of deception in terms of the narrative by fabricating a scandal, and in terms of the production by changing the lighting. 

But of course, things start going to hell right there. Fifteen tries to up the drama and Rogue can’t keep up. Rogue overcorrects and proposes to Fifteen, who freaks out and leaves the room. Now, I don’t want to get into the question of whether or not Rogue was playing along by proposing or being genuine (Personally speaking, I think it was both. 70% true, and 30% fake). Instead, I want to clear up why Fifteen freaked out here. I’m sure a lot of the long-time audience could already guess that it was parallel to River Song, The Doctor’s wife, but I think it’s more layered than that. Why would a reference to River scare the Doctor so much, aside from reminding them of a close person they lost? Because the last time the Doctor got married to someone they truly loved, it involved a 24-year stay on Darillium, which he knew would end in tragedy. Note the word choice here:

“Sorry I…I can’t.”

Not ‘I don’t want this’, it’s a void of agency (which connects to my piece on The Giggle’s ending and freedom). The Doctor can’t have that with Rogue, he was fine with them being casual to avoid the possibility of losing him. 

But on my first watch, I couldn’t help getting a little bit cross with Fifteen here, because the amount of ball fumbling on display is outright ridiculous; The Time Lord brings himself onto the dancefloor, with a guy he nearly made out with two minutes ago, gets all up in his face and starts shouting at him to “tell me what you heart wants!” and then completely freezes when said guy starts proposing to him. What in the fuck did you expect was going to happen, bud?! What made you think this would go off without a hitch?

I want to preface this by saying I had a completely different reading of this scene for a long time. My original thought was that Fifteen was trying to do multiple things simultaneously. He potentially was trying to lure out the Chuldur by creating scandal and at the same time, was trying to have a serious talk with Rogue about where he’s at emotionally. These lines in particular have fascinated me since my first watch: “You would ask me to give up my title, my fortune. But what future can you promise me?”. It did feel like these lines hinted at Fifteen’s thought process at this moment, he chose those specific lines to use for this moment. Was Fifteen trying to have an honest conversation with Rogue about their relationship while being fake to everyone else? But that doesn’t make sense considering the previous conversation in the TARDIS showed Fifteen comfortable with the idea of them being casual and Rogue respecting that, so it doesn’t make sense with where Fifteen is progression-wise. 

But it wasn’t until writing out this piece that I realized I had it all wrong and the truth was far simpler: this is a repeat of their meeting on the balcony, albeit with higher personal stakes. Let’s take a step back here: What is happening in this scene? Fifteen and Rogue are completely missing what the other is trying to say. Fifteen ignored Rogue being visibly uncomfortable over being back to playing with masks, and Rogue is not getting if Fifteen wants him to be genuine or not. Just like on the balcony and the garden, where both sides think they’re saying one thing when it’s the opposite. Before, both parties were wrong about who they were, now both parties are wrong about what they want. 

Fifteen is saying complete bullshit here, not true stuff to their situation but stuff that their audience would react to. He’s being over the top on purpose to elicit reactions. Meanwhile Rogue is thinking he’s being genuine. He thinks Fifteen is, through code speak, trying to genuinely ask him these questions. Which leads him to get down on one knee. And that’s a big problem because Rogue doesn’t know that proposing is wading into a gargantuan trauma pool for The Doctor. This scene is a magnified example of the duo’s problem with masks and not being completely honest with each other. 

However, while this scene may have been a cause for regression from The Doctor on the relationship part, Rogue on the other hand has an epiphany. In the scene following this one, we get the truly iconic callback of “Run.” and Rogue taking the Doctor’s hand. Why is this important? Well, there are three specific examples that this moment is calling back to: 

Nine meeting Rose ("Run!")

Victorian Clara and Eleven fleeing from the Ice Governess ("I do the handgrabbing! That's my job! That's always me!")

Twelve running with River ("Stop holding my hand! People don't do that to me!")

Nine meeting Rose establishes this idea of protection: The Doctor taking care of someone by leading them away from danger. The other two examples are subversions of that idea: Clara and River are now leading The Doctor out of danger. Same principle here, except here it has a bit more context behind it. Clara and River subverting that act of protection made sense given who they were: Clara as an echo across The Doctor’s time stream knew who The Doctor was and what they needed, even if she didn’t know it consciously when the moment happened. River as The Doctor’s wife also knew who they were and what they needed at the time. 

By connecting Rogue’s action of taking Fifteen’s hand and running to Clara and River, it not only again connects Fifteen and Rogue to previous romantic relationships, but it also shows Rogue learning from his mistake. Rogue’s mistake in the proposal scene was him not figuring out what Fifteen needed at that moment, it was a major miscommunication. Now, at this moment, Rogue is starting to figure out what he needs to do. He is, to use relationship lingo, "shelving his agenda" to help the Doctor. 

And that progression continues through the last leg of the episode, including the moment when Fifteen thinks Ruby is dead. I’ve always found this moment in particular so fascinating because of how loud it is metaphorically for both characters. Fifteen is taking off the mask of coolness and revealing that Doctor™ anger. This is a complete switch-up from what he’s been like throughout most of the episode. Yet when he lets out that chilling line, “Good. That’s a long time to suffer.” Rogue doesn’t look all that scared or mad at him. 

The face Rogue makes here looks far closer to a resigned sadness, almost like he knew that he would have that reaction. Keep in mind that Rogue knows nothing about The Doctor at their worst, all that he knows right now is that they lost “everyone”. Compare that with Donna, who was outright terrified of The Doctor when at their worst (for good reason though). 

Rogue isn’t surprised by this at all. He’s not asking “What happened to this person in front of me?”, he’s realizing “This is how much he cares about his best friend.” He’s seeing the depth of this person’s love that is inexorably linked to the depth of his grief, and is realizing he can’t allow that grief to corrupt this person he’s grown to love, even if it means endangering himself. Which is exactly what ends up happening.

This is where the theme of masks finally pays off. At the beginning of the episode, both Rogue and Fifteen are wearing their masks (cold, uncaring bounty hunter, and flirtatious partygoer). Those masks started to come down, but that got messed up thanks to miscommunication. Rogue didn’t understand what The Doctor needed from him, causing their trauma to resurface and The Doctor ran away from having to deal with that grief. This final scene is them being completely honest with each other. Rogue asks him “Can you lose your friend to save the world?”, and Fifteen tells him the truth. He can’t, he can’t let that happen again. And Rogue understands that, he finally knows what needs to be done. And so he kisses him. Why did Rogue kiss him? Again, it’s a repeat of a previous scene, this time the dance. Rogue is comfortable putting on a mask/doing something dishonest when there’s an aspect of truth to it. Even if they danced together to serve a lie, it still was a moment powered by romantic feelings. Same with the kiss. Rogue had wanted to kiss him, so he felt comfortable doing something with an ulterior motive (taking the button from him) because it was also something he would’ve wanted to do regardless of the situation. 

But why did Rogue do it? The one line that I kept thinking of in summing up the intent behind Rogue's sacrifice was, ironically, from Frozen: "Love is...putting someone else's needs before yours”. Essentially, shelving your agenda, like we’ve been saying. Back in the proposal scene, Rogue’s mess up was not figuring out what Fifteen needed out of him at that moment. Fifteen needed him to play along in faking and instead, Rogue heel turned into a lot of trauma for The Doctor. So now, after seeing how important Ruby was to Fifteen, so important that he was willing to torture The Chuldur out of grief, Rogue is putting The Doctor’s needs before his own and stopping him from having to choose between her and the world. It's also why Rogue wiping away his tears before the kiss was so crazy because that's normally the Doctor's job. The Doctor is normally the one who turns sadness into hope. This time, someone else is doing that for him.

(credit to ngatwa again)

The greatest act of love in the episode was not the proposal, it was the sacrifice.

To close our tale, let us circle back to talking about Fifteen’s character arc. I opened this essay by talking about Fifteen’s main character flaw being a contradiction: both valuing emotional intimacy and running from it. That doesn’t seem to change by the end of this episode, so much so that Ruby forces Fifteen to take a moment and mourn Rogue’s loss when he wants to steamroll forward. But there’s one little detail left: Fifteen kept the ring. Not only kept it but is wearing it in the season finale to the point of even playing with it like a nervous tick. 

That bond, that relationship was so important to him that he doesn’t allow himself to ignore it. It’s only after he has that hug with Ruby that he pulls out the ring and chooses to wear it. Rogue is the one thing Fifteen won’t run away from because what they had wasn’t fake. It was real. 

Rogue, the supposed bounty hunter who only cared about wealth, loved The Doctor so much that he was willing to give up his life for his friend. The Doctor, the supposed Time Lord who flees from attachment, loves Rogue enough to remember him every day.  

I ask you, gentle readers, how could one resist a love story like that?

NOTE: some extra bits I wanted to include that I couldn’t fit anywhere else: I’m such a sucker for color symbolism, and having Rogue wear blue in contrast to Fifteen’s normally warm color palette, as well as blue being the color of The TARDIS…it just makes me feel things, ya’ know? 

Also, by not gendering Rogue’s previous partner, only ever using they/them pronouns, it helps add to the relationship in a social commentary way. It subtly shows that Rogue already has experience/is attracted to people who on some level defy gender norms, which helps prime the audience to buy Rogue accepting/liking The Doctor being able to change gender when regenerating.

Essentially, I'm insane over these two, and I need them back on screen as soon as possible.

[lawlightautismtruther]

SUPER LONG LAWLIGHT DYNAMIC ANALYSIS RANT (THIS MOSTLY ONLY APPLIES TO THE ANIME)

It’s really not that serious, but there’s more to my thesis of L being a sub/bottom than just blorbo yaoi fuel. I‘ll call back to my post about L’s true emotional vulnerability that most viewers seem to miss, because on a surface level (especially when coming from the manga and when trusting the words of Obha at face value) you may see L as detached and cold. You’re supposed to think that L is unfeeling at FIRST but post-confinement/pre-yotsuba, the truth starts to seep out. L could have had Light convicted after seeing that no more criminals were dying since locking him up, but he didn’t. Even Aizawa admitted that it was enough evidence. You know it’s real when Aizawa agrees with Matsuda, lmfao.

Anyway, after this point, L and Light actually really start to bond. (I pretty much see lawlight as subtextual canon) L, not really needing to do this because of his access to surveillance, handcuffs himself to Light Yagami. He doesn’t want to be apart from him. I actually find it to be a comedically obvious act of desperation.

My point is, Light is winning the game, and L is letting him do it out of what I believe is love. L has found the one person in his life (besides maybe Naomi) that he really feels any sort of connection to, and therefore he would hate to watch that person die. L is inarguably a vulnerable character imo. If you rewatch the the series, outside of his internal monologues, he’s actually extremely soft-spoken and coy.

“Oh, uh, well it was nice meeting you”

“Light, please make Misa stop talking now.”

You get the point. He’s nervous. He’s super frail and holds himself very compactly, he walks with his eyes on the ground usually. He shakes when Aizawa lays a hand on him. He is terrified of shinigami. I think his coldness is an act to protect himself. I really do, because he knows how much things actually do affect him. In order to continue with cases, he has to pretend like none of it really matters to him. And he almost believes it at this point, too— hence his monster speech.

But then there’s Light Yagami. A worthy individual to truly understand L. He comes along, actually treats L like a human being (be it an act, I believe it still feels good to L, who has been treated like a robot his entire life), of course L is bound to at the very least see him as a friend.

I don’t believe L’s external behavior towards Light is an act. He didn’t have to be kind, he didn’t have to pretend it was a friendship. He had zero professional reason to do so. In fact, it very much made the case a harder one to solve. If we take L’s character at face value, he would have scrapped all of the fluffy shit (like asking Light to go get cake with him, telling Light he was his only friend knowing damn well Light wouldn’t budge regardless, etc.) Adding a friendship into the mix only complicates the process of trying to read Light.

As much as L the detective hates to lose, L the person is desperate. If he really hated to lose, why did he let himself? He’s submitting to Light’s will and THAT is what kills him. On the day he dies, he knows it will happen, but still, he treats Light with kindness. Sure, he asks him if he’s ever told the truth once in his life, but after that, he pretty much gives up prying. That’s it. He’s put his gun down. Since he’s going to die anyway, he might as well just enjoy being around Light. I know for a fact that he is smart enough to have come up with some sort of plan to convict Light post-Higuchi. There’s a book about that. But canonically, he didn’t do it. Notice also how L goes to Watari before he dies for comfort. L is really such a sad character.

The crux of his character is his submissiveness, hence why I’m such a proponent of that ship dynamic. Its not just a wet-dream, it’s something I sensed in their dynamic to begin with. It’s why I became an L simp, not the other way around.

Anyway, the anime is a genius adaptation and expansion on the original story imo. (At least up until L’s death— unfortunately it didn’t do the other Wammy’s boys any justice)

TLDR;

manga L- cold and domineering, hates to lose and mostly loses at first because Light outsmarts him

anime L- the very opposite and I LOVE IT

Look at me putting my 5 on the AP English literature exam to use! Also, I know I’m a huge L fan, but I am a Light kinnie and I love him as a protagonist in every possible anti-hero type way and would love to analyze him so let me know if yall want that.

Okay, class, any questions?

[hobie-enthusiast]

THINGS SO DEAR !

— hobie brown x gn!reader

— fluff, character analysis, angst if u squint, head-canons, non-traditional love languages, specifically music, typical and non-typical couple behaviour, mentions of corrupt government, use of shit once

— The most important things in Hobie Brown's life, and how he connects them to his relationship

— i recently took a sort of unannounced break to center some attention around myself and the important things in my life. it has been about two months since i wrote and published my last piece, and for that i am sorry. as much as i didn't want to take a break, i needed to prioritize my mental health and manage my stress, depression, and anxiety before i could even think of writing. life was hard. i needed to make it not hard. i never intended to leave anyone in the dark, and for that i am, again, so sorry. though my interactions and maybe even posts will be less than before, i hope you can forgive me and continue to enjoy the content i produce. thank you, and i love you :)

— music

The significance music holds to Hobie is something that he doesn't really expect people to understand. In fact, he thinks music is something a lot of people tend to under appreciate. To Hobie, music can be life changing. The mix of beautiful tunes and heartfelt lyrics can convey and provoke emotions that many people couldn't even describe. And that, to Hobie, holds a special place in his heart.

Music is a part of Hobie's everyday life. It's embedded in the way he fights. It's constantly ringing a tune in his head. Hell, even the lyrics to songs sometimes show up on the cutouts behind him. So naturally, it's important to him in his relationship. It's a love language. If words fail him, he can rely on a sweet sound from his guitar to convey his feelings to you. It's important that you know the importance of music from him, and understand why he thinks so deeply of it. Hobie loves the way a song can speak volumes, and when he writes something of his own, his fondest memories and relationships go into it. Every song about you is so deeply thought out, even if it's accompanied with a more punk-rock sound. It's the way he shows his love and adoration for you, unconventionally.

— creative outlets

Hobie believes that everyone should be able to express themselves. The ability to put one's imagination into their hobby is something Hobie values highly. For him, his outlets are advocacy and music. Hobie has a lot to say, and he wants people to hear what he has to say. Being able to put out his music for people who enjoy it is the perfect way for him to say everything he needs to where people will listen. And advocacy? He makes the important people listen.

In his relationship, he's one of the most supportive people anyone could possibly meet. He encourages you to continue pursuing your passion, supporting you every step of the way. Haven't found that passion? He'll help you find it. Hobie wants you to be able to express yourself in a way that isn't unhealthy, and a hobby is the way to go for that. Creative freedom isn't something anyone should lack, and Hobie will make sure that neither of you ever do lack it.

— advocacy

One thing Hobie will never understand is how a group of people could ever think that others different from them shouldn't deserve to live. Advocating not only for himself, but for the lost voices in society, is so incredibly important to him. It inspires the way he lives day to day, how he interacts with the world. Everyone deserves to live freely, not hated and dragged down just because of the way they look or think or love. He organizes protests, speaks out against corrupt government nature, and uses his Spider-man status to fight for what is truly right, even if it puts a target on his back.

When it comes down to his relationship, advocacy plays a big part in it. You and him work together to fight for what's right, and that means the world to him. Even if you can't do most of what he can (because he is, in fact, Spider-man), it still makes the world of a difference when you do what you can. Hobie knows that this sort of fight, this fight against a government that doesn't want him around, is one of the most difficult he will ever face. So having someone there by his side? Fighting with him? Cheering him on? Means a lot more than words can describe.

— communication

Communication is something Hobie has always sought out in his life. The idea that a relationship he worked so hard to build on could crumble from a simple misunderstanding is scary to him. He'll never let people misunderstand him. Not his messages in his music. Not his message when protesting. Not his message when crime fighting. None of it. It's what makes Hobie such an honest and open guy to his friends, family, and even the strangers he fights so often for.

Communication is the main concern Hobie has in a relationship. Like mentioned, he can't have it thrown away over something so trivial. The two of you are always open and honest with each other, even if it may come off as rude or hurtful. But that's what makes your relationship so strong and trusting. What may seem too open to others works perfectly for the two of you. And if there ever was a time where a miscommunication does happen, Hobie will always, always, be the first to set things right.

— crime fighting

From a young age, Hobie knew he couldn't rely on others to keep the city safe. It felt like no one was ever safe. Hence why he was quick to assume his Spider-man role when the opportunity came to him. It was hard at first, adjusting to constantly saving others from rotten criminals. But over time, it started becoming a piece of cake. At least until the bigger government problems presented itself. But fighting to keep the streets safe is something Hobie loves doing. It feels like he's doing his part for the people, even if that was something pushed onto him.

You, as his partner, are the one constantly pushing him to keep going and reminding him what he stands for. Said job as a city hero isn't easy, even for Hobie Brown. There was even a time when he tried to quit. Give it all up, because he was just so damn tired. But you didn't let him. It took a lot to remind Hobie that he's also doing this for himself. To remind him that he's doing so much and that you were so proud of everything he stands for. It was enough to get him back on his feet, keep him going when it comes to being the people's hero. Hobie never forgets your encouraging words, they always keep him going.

— his partner

Hobie values all the relationships he makes; platonic and romantic. He was lonely for a small time in his life, and it hurt him in ways he'll never forget. So his relationship with his partner will always be a priority. He'll never just jump into a relationship, he has to make sure this is someone he can see himself loving, committing to, forever holding close to him. But he'll never choose to love someone because of their looks, gender, sexuality, anything. The only preference he truly has is when it comes to personality and political beliefs (being an anarchist, he just can't see himself being with someone who isn't). Regardless, Hobie's partner will always have a feeling of love buzzing within them, solely because of how loving and loyal he truly is.

When it comes to you. Hobie is so incredibly in love. He takes no shit about it, and will defend you whenever he needs to. He's also somewhat over-protective, despite being very secure in the relationship. It's a comfort thing, is what he says when you ask. Hobie isn't afraid to show his love to you, though he does it more in private. He doesn't care what others think of him, but he also very much doesn't want you in such a harsh limelight (being how hated he is by the government). He only ever wants what is best for you, and will do a lot to make sure you have everything you deserve and more.