#cool things about it but the choice to structure it more like a

[beansterpie]

rewatching LoK, i'm being reminded how much I dislike the.... the brothers, mako and bolin, yanno? they're such underwhelming characters on basically every level. it'd almost be impressive if they weren't in every episode and didn't annoy me so much ugh

[aroaessidhe]

2023 reads // twitter thread    

The Battle Drum

sequel to The Final Strife, a queer Ghanian/Arabian high fantasy world where people are divided by blood colour

the nightly hurricanes are getting more deadly, and Sylah travels to unknown lands to discover the truth and find help

meanwhile Anoor is trying to manage her new political position while framed for a murder she didn’t commit

[justanotherbirdbrain-blog]

A Workshop for Creating Magical/ Fictional Crystals: A Guide from a Geologist

Hi folks, its me, here to talk about fictional writing again! Today I'm just tackling the idea of magical stones/mana stones by looking at existing minerals today and some neat properties that they have, and how you can apply these things to a fictional world. The goal is mainly to help you if you are stuck trying to come up with a unique magic system, or a unique identification/characteristic of your mineral.

First Things First: Mineral Shapes

I am exhausted, petered out, down-right fatigued by seeing every mineral depicted with having the crystal structure of calcite and quartz. There are soooooo many cooler, more interesting crystal structures, don't you think you would stop and take a look at a perfect cube in nature? It is completely unsettling.

Second: Color

Color within minerals can either be really important, or not important at all! It is your choice to decide if color is going to be something that means something to your mineral. But what are some times when the color is important? Well.... there are some elements that are called chromophores, this classification just indicates that these elements, when present, will determine the color of whatever they are in. So, if you wanted to treat mana like a chromophore, you could say, "Oh everything that contains mana turns green!" This could mean that regardless of the mineral, if that mineral is a specific color, it means it contains mana. This concept is exciting because you can just stop here and use minerals that already exist! You can also use it as an indicator for a magical ore! Chromophores are typically metals, so if you are making a new metal weapon, making the ore of that metal a unique color would make a lot of sense!

However, your mineral can also just be every color of the rainbow like quartz and perhaps that's what makes identifying your mana stones elusive and create an illusion of scarcity that your character can solve.

There are other things that can change the colors of minerals, like radiation damage, and electron exchange, but I think that is beyond what would be helpful! So lets talk about some unique color properties that happen in nature that seem magical in the first place! Maybe you don't need to design a mana stone, but you want a unique gemstone that only the royal family passes down or something (IDK).

The first one is the alexandrite effect! This is where a mineral can change color in natural light vs. incandescent light. (the mineral itself is not changing, but the lights contain different amounts of different colors that then get absorbed by the stone). Even if you don't use electricity in your fictional world, you could have the colors change in the presence of light magic. This could create fun misunderstandings about what the mineral is reacting to!

Pleochroism

Pleochroism is something that most minerals have, it is frequently used to help identify minerals in thin sections, however minerals are usually not pleochroic enough for it to be visible to the naked eye! Pleochroism is just a fancy name to describe the change in how light is absorbed based on the angle of the mineral! So if you scroll up to the first image where I showed a lot of crystal shapes, most of them have angles where they are longer and shorter! This will effect the way light travels in the crystal. Tanzanite is a popular mineral that does this.

Photochromism

This is when a mineral will change color (in a reversible way) when exposed to UV light (or sunlight), I am not going to go too into the details of why this is happening because it would require me to read some research papers and I just don't feel like it. The mineral that is best known for this is Hackmanite!

Alright! These are all the really cool color effects that might inspire you or maybe not, but now I am going to talk about how you might find your minerals within a rock!

When I see a lot of magical caves/mines, typically I see them with some variation of a geode honestly, but most minerals are not found like that! Now I am sure most of you guys have seen a geode, so I will not really talk about those, but I will talk briefly about porphyroblasts which is when the mineral grows larger than the minerals around it, this happens in metamorphic minerals!

sorry random stranger, but this is an image of garnets inside a finer-grained rock at gore mountain in New York!

Another way you might find minerals is in a pegmatite! This is when all minerals are really large! This is a formed from really slow crystalizing magma!

But something else to think about is that your mineral might just be massive, it doesn't have to have distinct crystals, it may be similar to jadeite where small grains grow together which leaves it looking smooth and seamless! A note about all of these is that you would have to mine into the rock to find these, there would not be any natural caves in these rocks! Caves are only ever really formed in limestones and maybe marbles (rocks that react with acid).

How can your characters identify these minerals?

Typically when you are out in the field you will look to see what type of rocks the minerals are found in (The overall texture of the rock will tell you how it formed). If you know how the rock formed, it will narrow down the amount of minerals you need to think about by quite a bit! Next, you are going to look closely at it and observe its crystal structure, does it have an obvious crystal? if so what is the general shape? If it is broken, how did it break? Did it fracture like glass or did it break along uniform planes. Some minerals have a thing called cleavage (breaks along planes of weakness). If a mineral exhibits this habit, it will again help narrow this down. Next we can look at color. Color can be misleading, because minerals like quartz can be any color imaginable, but minerals like olivine will always be green! The next thing your character can do is test for hardness, minerals all have a specific hardness that can help identify it as well.

After you go through all of this, your mineral might have some special property! This could be magnetism, fluorescence, reactions to acid, or any of the color changing effects I mentioned above! Other than that, your character can take it back to a lab and do a number of things to identify it, but the most typical thing would be for them to make a thin section (very thin piece of the rock) and observe it under a cross polarized microscope!

On that note folks! I hope this helped in some way in thinking of new magic mineral properties! I have other guides that explore some different fictional worldbuilding issues you might run into, but if you have any topics you would like me to cover please that I haven't mentioned already, let me know!

[badgertracksart]

Portfolio advice, from a lead who hires Concept Artists

(This was originally a twitter thread I wrote before the site self imolated, hense it's strange structure.) I wrote this after a weekend of portfolio reviews - 1. Like a maths exam, please please show your working. I want to see thumbs options, mid options and of course a final design.

2. Arrange your portfolio, I don't want to bounce about between subject matter and pipeline. Your portfolio's narrative should be as strong as your work... 3. Please make worlds that excite the viewer, make them want to go in and explore them, explain to them the interesting parts of the town, or the way the character's hat unfolds. How will this draw the viewer in? 4. As I've said before the majority of your project work is explanatory not mood, make sure your portfolio contains explanatory work. Explained here -

5. A lot of beautiful post apocolyptic paintings, , but 80% of realistic games and film, we just give the environment artists photo ref, they are capable artists in their own right. Different work in stylised where you do need to create rules for how things can be translated. 6. Production art contains call out sheets, material references and flat graphics. This doesn't have to be your final image, but it should support it.

7. Design characters on a swatch(es) of the environment they will be viewed in. Not on white. I make swatch backgrounds from screenshots, it avoids assumptions that damage readability. 8. Reverse of this, put people in your environments, show me the scale.

9. It's not a deal breaker for a review, but if you intend to get a job, please show me your work on a screen larger than a smartphone (print outs probably the cheapest option with the best battery life). 10. Please have your contact details clearly visible, and by that I mean email address, I will not pass your social media contact on, I cannot input your form into my tracking system. EMAIL ADDRESS emblazoned and bake it in, sometimes recruiters do funky stuff to pdfs

11. Your portfolio will never feel done, not to you anyway. You will have learnt from your latest pieces and want to apply it to older work. But we know art is a journey. Send your portfolio anyway. I've been in the industry 10+ years and my portfolio is still not 'finished'. 12. If you are applying to an environment centric Concept Art position then please vary your times of day! Golden hour is cool but show me some happy sunny days, looming overcast days, what about at night? Vary your weather too! Sunny snowy day? Rainy Spring day? Stormy night?

13. If you are applying for a character centric Concept Art role then please ensure your portfolio shows a variety of body types and ethnicities. 14. Designing characters for games? Please show back views and feet (!) Many potfolios contain only front views. This is a problem because:

You haven't shown you are considering the design from all angles.

In many games rear view is the main view.

Stop cropping feet.

15. If you are entry / graduating and looking at Portfolios to compare content and standard of yr own work too, look at hired grad/junior artists as opposed to seniors Seniors and leads often have old or personal work in their portfolio which isnt representative of the day job. 16a. Show clearly the intended use case for your Concept Art. Mention the game type in the description. Are these player character designs for a 3rd person adventure game? Then more back views please. Bonus points for diagetic ways of showing health / equipment / role etc.

16b. Are these designs for an FPS? Then really the player view of the gun needs to sell the player style/ choices, in an FPS your weapons are almost your character. Are these world designs? What's the view distance? For an RTS your shapes need to read from above & a distance. 16c. The lack of clarification means I am judging the design in isolation, which both harms the design (you might be considering the backview of a char as the main adventure character.) Or an NPC, their waist up expressions may be important for conveying exposition and mechanics.

16d. Concept art is not separate from gameplay, great concept art serves the game team before it is a good illustration.

17. Play games. A variety of games. Think about them. IMO to be a good concept artist you need to understand the common language & references used by your peers. Also understand the principles and common language your audience are used to. FPS design rules are v.diff from RTS.

18. There are many skills that are needed in concept art, please show them. For example: Graphic design - logos, liveries, typographic use etc. VFX concepts - Abilities, Ambience, motion concepts. Architectural knowledge - How buildings are built! & more but I'm out of space :O

[crowroboros]

A Really Cool Detail About Might Crystals in The Legend of Zelda: Echoes of Wisdom

The first time I encountered a Might Crystal was maybe ~an hour into the game. I think I found it in a chest or something in Suthorn Forest and the first thing that I thought was "Huh...that looks kind of like bismuth." But, as I was so early on in the story that I didn't know much about what the Might Crystals were, I didn't think much more of it.

Well here I am with 46 additional hours worth of playtime in Echoes of Wisdom, and I'm here to say that there is a very cool reason that Might Crystals resemble bismuth crystals!

Before we get into bismuth, I need to talk about what is going on in Echoes of Wisdom. This WILL contain mid-to-late game spoilers, so do be warned.

Long before Creation there was nothing more than a void—a vast empty oblivion. Occasionally, bits of matter would spark to life in this nothingness. Nothing substantial, just small clumps of reality managing to form only for a moment. Only a moment, for anything that managed to flicker to life was devoured by the one who dwelt within this void:

Null.

Null is the main antagonist of Echoes of Wisdom. It is an ancient, incomprehensible lifeform that thrives in the absoluteness of zero. Nothingness personified.

Seeing the way these sparks of existence were so quickly extinguished, the three Golden Goddesses—Din, the Goddess of Power; Nayru, the Goddess of Wisdom; and Farore, the Goddess of Courage—descended from the heavens and forced Creation. Together, the three built the world itself and everything that makes up reality with Null imprisoned and contained at its center.

The Golden Goddess then departed back to the heavens, leaving behind the Triforce, the Secret Stones (though they aren't relevant for this, just thought I'd throw them in since we know they were created around this time), and the Tris. The Triforce and the Tris served as the glue keeping reality together; the Tris specifically being created to maintain the structure of the world, as even though Null was imprisoned that didn't stop it from consuming and returning the world to nothingness.

From the point of Creation onward, Null and the Tris were locked in a delicate balancing act of destruction and recreation. Null ate away at the world, creating rifts that tore through reality. And in turn, the Tris constantly patched up these rifts, quickly restoring what was lost.

This return to nothingness is a major part of the themes of Echoes of Wisdom, and why Might Crystals likely were inspired by bismuth.

Might Crystals—as well as the energy they produce—are some of the only things capable of withstanding Null and the void. When everything else is lost, these crystals remain. But what does this have to do with Bismuth?

Well visually both Might Crystals and Bismuth share the iconic stairstep spiral growth structure, but the main reason I believe bismuth to be the inspiration for the Might Crystals is the Bismuth-209 isotope.

Bismuth was previously thought to be the heaviest stable element, with only one stable isotope (Bismuth-209). I say previously because in 2003, a research team at the IAS (Institut d'Astrophysique Spatiale, a research institute in France) came to the realization that the Bismuth-209 isotope is actually undergoing alpha decay at an incredibly slow rate. How slow? Well it was determined that Bismuth-209 has a half life of approximately...

2.01x10^19 years. Or about 20,100,000,000,000,000,000 years (20 quintillion if you don't know/don't want to count out the zeroes).

For reference, that is billions of years longer than the current estimated age of the universe.

It is because of this inconceivably long half-life that it is said that bismuth will be among the last elements to disintegrate. And it is that bit of information that I believe inspired Might Crystals. If you need to come up with a crystal that can withstand nothingness itself and outlive matter in a void that consumes endlessly, what better choice to base it off of than the element that decays so slow that we used to think that it was stable?

I just thought that it was a cool detail. This is a bit different from my other Zelda posts—as this isn't me talking about the lore and story, but rather me talking about a possible irl inspiration for something in the series—but I thought this was really cool and I wanted to share my thoughts.

[yuri-is-online]

Bro floyd is so handsome-

And he's weirdly the only twst character that I can describe as handsome??? Like every other character I like is either cute or pretty. Trey and leona might have been handsome to me at one point but I'm just. Not attracted to them yk? Even Jade! Jade is very pretty! He's my evil little wife! But floyd is like. The only one that's actually handsome, like in the traditional sense. At least to me he is. Just like. His mannerisms I guess... idk man he's cool as hell and weirdly reminiscent of dark vintage americana. Weirdest fucking aesthetic I can connect him to but fuck you I'm connecting them (national anthem demo 1 by lana. I was reading the lyrics and also the overall vibe of that specific version of the song just kind of cemented for me)

Idk dude sometime I just go into you inbox and dump out my twst thoughts with no real purpose or structure and this is one of those times 🦵...also it's 2 am so that probably has something to do with it. Good night Yuri!

The prequel to this ask and also still goodnight because it is rather late here rn

Floyd is very much a mob boss, old Americana, guy you obviously should not be attracted to but still everyone kind of understands why type of guy. He's handsome in italics, in a way that you giggle about and exaggeratedly wag your eyes because hey you could be joking.

He's that sort of handsome where most interested parties would ditch him after a weekend. Handsome in a way that sparks but doesn't start a fire, like one of his bad moods that's strong, horrible, and will do so much damage but is gone as soon as it's come on. Like a man desperate for a real connection and can't quite get it, who is looking into your eyes while it rains outside not saying anything but really wanting you to know it's real. Handsome like the guy who doesn't get the girl but everyone knows if the writer was paying attention to their own characters would have been the better choice.

Handsome in a way that's stammered out without a technicality offered by someone small, vulnerable, and foreign to everything he knows in more ways than just the one obvious fact who ignores all of that stuff. Handsome enough for the spark to catch and the connection to wrap itself around your waist and drag you into the ocean without a single scream because the part those stories often ignore is that there are people who would look at an eel three times there size and still "would."

He laughs, dizzyingly loud and all the things he is at once because what he thinks of you is much simpler than all of that. He thinks you're cute~ so cute he could just eat you up.

[reallyromealone]

I’ve been soooo obsessed with the babyhaul series.So,I was wondering if you could do an ep where the babe finally develops his quirk.Aizawa dropped the babe at the U.A daycare and a few hours pass and he gets called to the office bc his little one developed their quirk (You can pick the quirk bc I have no idea what it should be)

Feel free to ignore this <333

Title: quirk

Fandom: bnha

Characters: Yamada, Aizawa, Nedzu

Fic type: fluff

Pairings: Yamada x Aizawa

Warnings: male reader, reader insert, child reader, fluff

Notes:

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Quirks were fun.

Especially when you get a call that your toddler rearrange the structural design of a block into a pile of sand, causing the daycare staff to have to call the parent to said daycare.

"What did he do?" Aizawa asked exasperated as he and his husband sat with their three year old, (name) sporting a cool quirk suppressant bracelet for children as he played with his papas fingers and wedding band "well it seems he developed his quirk, he turned a wood block into sand and then his cookie into a ducky toy and began crying when he didn't have his cookie anymore" the head of the U.A daycare explained and the two teachers shared a glance.

(Name) Had his biological father's quirk.

"Thank you for telling us, if you could excuse us" Aizawa lifted the little one In his arms as they went to Nedzu, they knew this time would come but god they wished they had a bit more time. (Name) Was confused as his dad's looked serious "papa! I got my quirk!" (Name) Tried to make conversation with Yamada who smiled down at his son that was in Aizawas hold "yeah, now we gotta see uncle Nedzu to teach you how to use it" (name) looked confused but just went with it, uncle Nedzu was the smartest guy ever so...

"Uncle zuzu! I got my quirk!" (Name) Said excitedly as he was freed from his dad's hold and set in the ground, waddling/ running towards the principal "So I have been told little mouse, very exciting" Nedzu said handing a cookie to the child who went around his desk to see him properly since he wasn't able to see above the desk.

"The commission isn't to know about his abilities so we can work that to our advantage" (name) was sitting on the carpet with his toys, playing happily while the adults put their plan into action, the daycare trained and signed enough NDA's to make a judge sweat "We will begin quirk training immediately, if he can do something like that without breaking a sweat now... That's something to keep close tabs on"

It was well known that quirks could be more powerful through generations, evolving into something even bigger than itself and (name) had no reaction to using his quirk even by accident, turning wood to sand wasn't an easy feat after all.

"It will only be for an hour a day, he is still quite young" Nedzu showed them folders he had prepared, a very cohesive and airtight plan that had the parents impressed "there's even snack time" Aizawa said with a huff, it fit in for their pick-up time for Eri and everything.

"And if course I'll be there in case something happens" Aizawa said looking back at his son who was in his own world.

That night, Aizawa and Yamada sat with their tot and explained a little bit about his quirk, (name) was already mentally developing faster than they were expecting, they were sure that Kisaki did something to cause that as the boy seemed to be understanding things faster and better than his peers.

"I can make cookies..." The power (name) realized he has was a horrifying realization to the parents who couldn't help but laugh at the fact that making cookies was his first instinct.

"Use that power wisely" Yamada snorted as they went home, they had some things to order and have lunch, (name)s choice.

[squeakadeeks]

Fabric highlights: Microsuede

I get a lot of questions about material choices, so I thought it would be cool to do little overviews of my favorite materials! (since to be honest, i pretty much just rotate between 3-4 fabric types haha)

Starting with microsuede, my all time favorite and most used material choice. Microsuede is a faux suede made from lots of tiny polyester microfibers split and combined together. its similar in feel to natural suede but distinctly different in its overall fabric drape. It can sometimes have stretch, but usually its a non-stretch fabric. (also not to be confused with microfiber!! mircofiber fabric is similar but its much softer, its the material that cleaning wipes for glasses/screens are used of.)

Some of the advantages of microsuede is its a thick, sturdy fabric. Personally I find it a very friendly fabric due to its thickness and body. Its a great choice if you want something to have some heft to it and structural support. It presses well and can hold folds like the dickens. Its both easy to work with and easy to make a garment that looks nice out of imo. It comes in all kinds of weights from apparel to upholstery. I've personally never used heavy duty, true upholstery weight microsuede so I cant speak much to that, I tend to use microsuedes intended for apparel.

Another great advantage of microsuede is it has an inherent, mottled texture. this is great for making simpler, color blocked designs still have visual interest.

It also takes to adhesives well due to the fuzzier texture, meaning the glues can grisp with more surface area (you just might have to press it in a bit, its still a poly fabric so its not the easiest thing to get hot glue to stick to but by god it can be done).

But microsuede is not a one-size-fits-all fabric. One, the stiffness it has can be a downside if you want a more flowy drape, it would rather fold and crease than flow. Two, its a pain to paint or use HTV on, the fuzzy texture is a downside here. Three, It can also show needle holes if you have to seam rip depending on what you used. You can use a universal needle on microsuede dependings on the weight (I usually do). But its still a thick fabric so be sure not to use too thin of a needle, i also have luck using medium pressure and a walking foot. but all the same ive lost many a needle to microsuede via snapping.

Another thing is personally i find that due to its texture, it looks more homespun and rugged, as such I would hesitate to use it if i wanted a costume to look more regal or formal (i still used it on thistle though lol so its all about the particular use-case)

I source my microsuedes from Big Z primarily (like literally 90% of the time) but I also use fabric wholesale direct, and jo anns, who despite their markups does have some very nice quality suedes, i love their stretch suedes in particular.

I love microsuede. its probably my favorite fabric to use and I will even change my plans on a costume just to use it!

[punkitt-is-here]

Yknow i love fo4 and fo76 as games but hate them as Fallout games yknow?

Like theyre nice to play and i love some of the characters but man. They just. Are not Fallout. Its literally like if you took Fallout but made it for a general audience, theres no spice!! Theres no grime!! Why is everything so clean!!!

That's the thing; these games are built with inherently different base goals in mind. Bethesda in the modern day thrives off selling the idea of player empowerment, of being an explorer in a foreign land that you conquer through hard work. You shape the world to your liking by questing and exploring and conquering. And genuinely? I got no problem with that. I think games that gas the player up like crazy and set you loose on a world to make it your own are totally fine conceptually! Like, the fantasy of being able to shape the world the way you see fit is something I think a lot of people can get into, whether you're just looking for control in your life or you just want the experience of feeling like you can have some grand effect on the world at large.

But because of that, I think the core of what makes Fallout so interesting has to be put on the backburner. I don't play Fallout to feel powerful necessarily, and I certainly don't play it for the fuckin' gunplay. I play it because it has such a fun dedication to weird stories that feel like they have something to say, a staff of writers dedicating their time and effort to being a proto-DM at a table, trying to provide interesting and thought-provoking or at least real damn fun stories in front of you, because ultimately, the West Coast Fallout games are about people. They're about characters! And when you focus less on the idea of telling stories in a world and more on empowering the player as a fourth-wall observer, those priorities clash and in the East Coast Fallout's cases, it makes for a game with no spice or edge. Having something to say about, say, the US Military or American Expansionism and Exceptionalism or the nature of clinging to the past kind of fundamentally clashes with the player empowerment fantasy that Bethesda Fallout games want to sell you. You can't have these philosophy-based, morally-interesting factional conflicts that want the player to look inward when the very concept of your game is built around collecting loot and shooting guys instead of learning about that loot and learning about those guys you're shooting and why you're shooting at each other. Having radiant quest loot loop gameplay just doesn't mesh well with a world where choices are meant to have far-reaching impact, because if it did, it'd be impossible to program under a normal development timeframe, and it would likely make the player look inward and go "what the fuck am I doing with my time?" at the endless meaningless quests to go on.

I don't think the "Lone Wanderer Comes Across A Microcosm Of Adventure" format is bad, not at all, but you have to put a lot of work to make that feel cohesive with the larger character and faction-based narratives that 1, 2, and NV are built on, so instead those Bethesda-style games opt more for a toybox, playground approach to the post apocalypse. And when your primary goal is showing the player how cool of a sandcastle they can build, it'll never be structurally sound enough to sustain even a wave of nuance.

[jetii]

Event Horizon

Chapter Eleven: Normalcy

Chapter WC: 11,172

Chapter Tags/Warnings: none

A/N: This chapter is 95% dialogue, and yes I could’ve cut it but…I didn’t want to.

Previous Chapter | Next Chapter | Join the Taglist | Masterlist

After a fitful sleep, one fraught with nightmares, you wake early the next morning. 

You’ve taken to writing down your dreams when you wake, no longer confident that the nightmares are truly that and not something more prophetic. After Felucia, you know better. 

You don't write down much, just the barest of details, and a vague recollection, but it's enough. And, when you read them back, a pattern emerges. Ever since you awoke in the medbay, you've been dreaming about golden fields, dust and smoke, and a searing pain in your chest so intense, you wake up gasping. 

There's no one else, just the grass, and the dirt, and the wind, and, above it all, the feeling of something horrible about to happen. It's the same every time. Over and over again in a loop, and you're growing tired of it. And despite your efforts, you're no closer to understanding it.

You haven't told anyone, and you're not sure what to do with the information. So, for now, you've decided to keep the details to yourself, at least until you figure out what they mean.

You set the dream journal aside, and you dress quickly, slipping into a fresh pair of robes and leaving your quarters to resume your duties at long last.

Overnight, there was a fire in the Undercity, and the Council dispatched you to investigate the issue. It's far from the first time such an event has occurred, and after a quick debriefing, you head out. The fire had originated in the abandoned warehouse district and had spread to several nearby structures, making cleanup tricky. You spend the better part of the day assisting in the recovery effort and meeting with the survivors, taking note of their injuries and asking questions where you can.

The next few days pass in a blur of activity, and, before long, you've forgotten about your conversation with Obi-Wan and your evening out together. He doesn't bring it up, and neither do you, and the two of you continue on, acting like nothing ever happened. 

It's not exactly a healthy choice, but some things are better left unsaid. It's not like either of you have had the time to talk about it, either. There's always something going on, and the War keeps everyone busy. It's easier, and safer, and the Council doesn't need any more reasons to scrutinize the two of you. Well, mostly you, but you were doing your best to make sure you were on their good side.

By the end of the week, you and the Coruscant Guard are able to catch the arsonist. A local crime boss, known for his use of black market chemicals, had set the blaze in an attempt to cover up the evidence of his operation. You bring him and his crew to justice, and after a long debriefing with a Senate committee, another subcommittee, and then the Council, you're finally dismissed.

With the issue resolved and your report completed, you find yourself with some unexpected downtime. And for the first time in a long time, you're able to enjoy a bit of a break. 

It's still early when you decide to go for a run, and you're out of the Temple and onto the streets in no time. The weather is mild, and the sun is shining, and despite the constant buzz of the traffic, it's pleasant. You've missed running, the only thing that seems to actually clear your head these days, and it's not long before you're lost in thought, the city fading into the background.

It's been weeks since the incident on Felucia. And since then, you've barely had a chance to process what happened. In fact, aside from the nightmares, the only time you've really been able to stop and think was the night you and Obi-Wan snuck off to the cantina. 

Now, as you jog through the city, the air crisp and cool, and the noise of the world dulled, the memories come rushing back. The conversation with Rex in the woods, the pain of the explosion, and the way the Force had screamed at you. You'd been trying to forget, but, somehow, the memories are clearer than ever. As though the alcohol had stripped away the fog, and now, all you're left with are the images.

The war has intensified in recent months. More troops, more missions, and the losses have only increased. Every day, there's a new report of another battle gone wrong, another platoon lost, another planet captured. 

It's getting harder and harder to keep up, and you can only hope that when you return to the frontlines, you're ready. You can’t afford to let yourself panic as you did on Felucia, and the consequences of your failure would be even worse.

The thought makes you grimace, and you force yourself to run faster, pushing the memories away. There's no use dwelling on what's already happened, and you need to focus on the present. And on what’s yet to come.

Your run takes you through the Upper Levels of the city, and as the day progresses, the crowds thicken. Soon, the streets are full of people, and you're weaving between them, ducking and dodging, apologizing under your breath. 

You’re not sure where you’re going, but you keep moving, not paying attention to your surroundings. Until, eventually, you stop in front of the clone barracks.

You look around, and when you realize where you are, a frown tugs at your lips. The building looms in front of you, and you stare up at it, more than a little stunned. You hadn't intended to come here. Or maybe you had. You're not really sure.

Wiping the sweat from your brow, you watch at the entrance for a few moments before shaking your head. There's no reason for you to go inside, and there's certainly no point in bothering him. He's busy. So are you. The two of you don't need to worry about the other. And you certainly don't need to complicate things.

"General?"

You jump and turn. Rex is standing a few feet behind you, his helmet tucked under his arm. He looks exactly as he did the last time you'd seen him, only this time, his eyes are wide, and his cheeks are flushed.

"Captain," you say, smiling. You wave and nod toward the barracks, trying to keep your voice casual. "I didn't expect to see you here. Are you on leave? I thought the 501st was still stationed on Devaron."

Rex doesn't respond, his gaze drifting down momentarily before he quickly refocuses on your face. He looks a bit startled, and more than a little flustered. 

It's only then that you realize you're still wearing your workout clothes, a sleeveless shirt and shorts that reveal quite a bit of your body, your windbreaker tied around your waist. You're not really one for modesty, but Rex has never seen you like this. In fact, none of the clones have. And it's obvious that he's struggling to keep his eyes on your face. 

Your cheeks heat slightly, and you cross your arms, arching an eyebrow. 

"Rex?"

"Yes?" he mumbles. His widen before they snap back to yours, his hand rubbing the back of his neck. "Sorry. General. It's...you...look good—healthy. Healthy. It’s good to see you looking healthy."

"Well, thank you," you say, your amusement growing. He looks so embarrassed, and yet, he hasn't stopped staring at you, and it's making it hard not to laugh. You shift your weight and tilt your head. "Are you alright?"

"Oh, yes, sir," he stammers. He blinks a few times and clears his throat. "I'm fine. Just wasn't expecting to run into you. Here. At the barracks."

"Right," you chuckle. You take a deep breath and shake your head. "I was just taking a run. Got a bit lost. Guess I was distracted."

"I see."

"Mhm." 

The two of you stand there for a few moments. You're not quite sure what to say. Rex is cute when he’s flustered, but the tension is awkward, and you can tell he's not comfortable. So, after a few seconds, you force a smile.

"Sorry, I didn't mean to interrupt your morning. I'm sure you have a lot to do,” you say, giving him a friendly nod. You glance over at the barracks and then back at him. "I should get going."

"No, no, you’re not interrupting," he assures you quickly, and he shrugs, his eyes meeting yours. “I was actually on my way out."

"You're leaving?"

"Yeah," he replies, and he gestures to the door. "We got in last night. Just finished debriefing. They're giving us a few days of downtime. Figured I'd take a walk, see the city."

"Ah.”

You look down and fiddle with your jacket, biting the inside of your cheek. This is exactly why you shouldn't have come. Things are too complicated, and you're making it difficult. 

You let out a quiet sigh and look up. He's still staring at you, and he seems genuinely happy to see you, his eyes bright. He's always been so kind, and attentive, and respectful. And he's never once asked anything of you. He's just...Rex. Rex, who treats you like a person, and not just a Jedi.

And, selfishly, you like that. You like having someone who doesn't see you as an asset, or a tool, or a weapon. Someone who isn't afraid to challenge you, and who makes you laugh. Who gives you his full attention and doesn't look at you like a disappointment or a disaster waiting to happen.

While it might be the height of foolishness, and you know that nothing can come of it, it doesn't mean you have to cut yourself off from him completely.

“Would you...like some company?" you ask slowly, a shy smile tugging at your lips. "On your walk."

Rex blinks, his eyes widening, and a hint of red creeps up his cheeks. He looks so surprised, and a little pleased, and a warm feeling blooms in your chest.

"I'd be happy to show you around," you continue. "If you'd like. I know the city pretty well."

He opens his mouth and then closes it. He looks a bit like a fish, and, again, it's cute. Really cute. You find yourself smiling wider, and you wait patiently, the awkwardness dissipating and your confidence returning. 

When he doesn't say anything, you roll your eyes. 

"Unless you don't want to hang out with me, and then I'll leave you alone. You know, I can take a hint. I won't be offended."

Rex chuckles and shakes his head. "No, I...would love some company. But you must have better things to do."

"I'm off duty.” You shrug. "And I've been meaning to get back to the city. Besides, you could use a guide. The last thing you need is to get lost in Coruscant. Not a great look for a representative of the Republic."

"Right," he says, laughing. He takes a step toward you, and he smiles, his eyes warm. "In that case, lead the way."

You grin and turn, heading down the walkway. Rex falls in step beside you, and you set off down the street, a comfortable silence settling over the two of you. You lead him down several winding pathways, weaving through the crowds, the buildings towering over you. The sun is high overhead, and the air is warm, and the city is filled with noise, the hum of the traffic, the sounds of the people, the buzz of the air.

You point out various sites and monuments, telling him a little about each, and Rex listens intently, his eyes moving from one structure to the next. He doesn't ask any questions or press for details, and he seems content to let you ramble, his gaze focused on the city.

You continue like that for a while, chatting and strolling through the streets. The city is beautiful, and it's nice to have a bit of a break. A chance to do something, anything, normal.

As you walk, you sneak glances at him, watching him out of the corner of your eye. He looks a bit more relaxed, his shoulders less tense, but you’re starting to notice he’s making a concerted effort not to look directly at you. 

You wonder if he thinks you haven't noticed, but it's impossible to miss. Anytime he catches your gaze, Rex looks away, his cheeks turning pink. It's not a bad look on him, but you'd be lying if you said you didn't find his efforts to cling to professionalism as frustrating as they are amusing.

You decide to take pity on him and put on your windbreaker, zipping it up to cover your exposed skin. As soon as the fabric is covering your chest, his shoulders drop, and his eyes flick back to yours. He smiles, and you smirk back before turning to point out a statue. The conversation resumes, and his gaze never leaves your face.

You spend the next hour wandering the streets and taking in the sights. It's been a long time since you've gotten to enjoy a day without the weight of responsibility and duty, and even longer since you've been able to show someone around. You almost forgot how much you love this city. Or how much you used to.

At one point, Rex stops and tilts his head, looking up at the tall spires of the skyscrapers, the sun shining down on him. He looks so relaxed, so peaceful, and it makes your heart ache. He doesn't get a chance to do this. None of them do. They're constantly fighting, constantly at war, and, if it weren't for the fact that he was wearing his armor, he would look like anyone else out for a stroll.

He deserves this. To feel normal. To live a life that isn't dictated by the needs and wants of others. To know freedom, and happiness, and joy, and love. And you don't know if he ever truly will. You hope he will. But the chances are slim, and it's hard not to feel a little guilty.

"Something wrong?"

You blink, realizing you've been staring at him, and you smile. "No, I'm fine."

"You sure?"

"Yeah." You look around, taking in the scenery, and you try to distract yourself. "It's just...been a while since I've been able to do this. I forgot how much I loved this city."

"I can see why," he says. "It's beautiful."

"Yeah," you agree. "It is."

You watch him as he takes in the cityscape. He looks so at peace, and so carefree, and the sadness that had overtaken you disappears, replaced by a different kind of ache. An ache that you're all too familiar with. One that you've felt more than once since you were brought back together.

You push it aside and clear your throat. 

"So...where to next? Got any place in particular you'd like to see?"

"No," he replies. Rex turns his attention back to you and grins. "Just thought I'd follow your lead."

"Are you sure?" you tease as you nudge him with your elbow. "You don't have a hidden desire to visit the Museum of Fine Arts? Or the Opera House? You haven’t lived until you’ve seen an all-Bith performance of the Cantina Cantata. It's a Coruscanti classic."

"Ha, ha," he says dryly. "Very funny."

"What?" you ask. You bat your lashes in a show of innocence, and he scoffs. "It's a legitimate question."

"No, thank you,” he says, rolling his eyes, and he gives you a look. "I'll pass. Unless, of course, you want to."

"Force, no," you groan, and Rex lets out a laugh that has your heart fluttering. You smirk and start walking again, glancing at him from the corner of your eye. "There is one place I'd like to go, if that's alright with you. Are you hungry?"

"Starving," he admits with a sheepish smile. "We've been eating rations for two weeks straight. Haven't had real food in ages."

"Perfect."

You're getting close to the industrial district, and you take a left down an alley. It's a narrow path between two towering buildings, and the air is hazy, and there's a smell of smoke and fuel. The street is mostly deserted, and you're careful not to trip over any loose stones or stray bits of scrap. 

It's not the best area of the city, but, if there's one thing you've learned, it's that the best places are often in the worst neighborhoods. And this one was the best.

"You sure this place serves clones?" Rex asks warily as he follows you. He's looking around the alley, his hand resting on his blaster. "Seems a little rough."

"Trust me," you tell him. "This place is great."

The alley ends abruptly and you're greeted by the familiar sight of the small diner. It's an older building, and it's been there for a long time, a relic of the old days. The rounded durasteel walls glint in the afternoon sun, the neon sign blinking in the window, and the door is open, the sound of conversation spilling into the street. A few patrons are standing outside chatting, their eyes watching the two of you, but no one says a word as you enter.

"Hi honey," a cheerful voice calls. A waitress droid wheels over, her round eyes shining. "Welcome. Welcome. What can I get for you today?"

"Table for two, please," you say. “Thanks, FLO.”

"Right this way," she chirps, and she spins around, heading toward the back of the diner. 

You nudge Rex, who's looking around the room nervously, and you nod your head toward FLO's retreating form. "Come on. She won't bite."

"I've never been to a place like this," he mutters as he follows you, staying close. "It's so...normal."

"That's kind of the point," you laugh. You glance over your shoulder and give him a reassuring smile. "Everyone deserves a little normal."

"Fair enough." He takes a deep breath and gives you a half-smile. "Thanks for doing this."

"Of course," you say.

You follow FLO to a booth at the back, and you're about to slide into the seat across from him when a large shadow falls over the table. Rex tenses immediately, his hand moving to his weapon, and you whirl around, expecting the worst. But, instead, you're greeted with the wide grin of an old friend.

"Hi Dex," you say warmly. "Long time no see."

You wince as you're immediately wrapped up in a hug, four arms squeezing you tightly and lifting your feet clean off the ground.

"Hey kid!" he booms. "How the hell are ya?"

"Good," you squeak. "And yourself?"

"I can't complain," Dex says. He releases you and sets you back on the floor, his hand on your shoulder to keep you from toppling over. "Can't complain at all. How've you been? Haven't seen you in forever."

"Busy," you reply with a shrug. "You know how it is."

"Always working," he sighs. He looks around, his eyes landing on Rex for a moment before focusing back on you, a frown bisecting his face. "Where's Obi-Wan? Not used to seeing one without the other."

"Offworld," you explain. "The war’s keeping him busy."

"Ah," Dex says. "And this is...?"

He nods toward Rex, his eyes narrowed and his mouth set in a hard line. Dex isn't an aggressive man, but he's no pushover either, and he doesn't suffer fools. You have no doubt that, should the need arise, he's perfectly capable of taking care of himself. And you're equally certain that he won't hesitate to put a few bolts in anyone who threatens his customers.

"This is Rex, captain of the 501st Legion," you tell him. "My friend."

"Your friend," Dex echoes. He stares at Rex for a long moment, his gaze scrutinizing, before he grins and offers one of his hands. "Dexter Jettster. Welcome to Dex's Diner."

Rex hesitates before he takes the offered hand and shakes it. "Thanks. It's a nice place."

"It's a dump," Dex laughs. "But it's mine. And it's been a good place for years."

"Well, it's a great dump," Rex replies. He looks around and grins. "Very welcoming."

"Glad to hear it," Dex chuckles, and he glances down at you and gives your shoulder a squeeze. "Don't be a stranger. You’re always welcome. You tell Obi-Wan, too.”

"Thanks, I will." You smile and watch him go before turning back to Rex. "You good?"

"Yeah," he says. He lets out a deep breath and gives you a wry grin. "For a second there I thought he was going to throw me out."

"Nah," you tell him. You slide into the booth, and Rex does the same across from you. "He has a very strict 'no questions asked' policy. As long as you're a paying customer, he won't bother you. Unless, of course, you're bothering someone else. Then he'll break your legs."

Rex snorts. "Noted."

FLO comes back with two menus, and you both order your caf, the droid zipping away on a squeaky wheel.

"You two are close," Rex says, his eyes scanning his menu.

"Dex? Yeah," you agree as you do the same. "He's a good friend to have."

"I meant you and General Kenobi."

"Oh." You're taken aback by the question, and the tone in his voice. There's no judgement, no accusation, but the statement still manages to catch you off guard. You set your menu down and meet his gaze. "I suppose we are. Why?"

"Nothing," he shrugs. He glances at his menu and then back at you. "It's just...the two of you seem like a good team. That's all."

"We've known each other a long time," you reply, not entirely sure what he's trying to get at. "And we're good friends."

"I've noticed," Rex says quietly. His expression is guarded and unreadable. He's not being hostile, and his tone isn't rude, but the conversation feels oddly...tense. You desperately want to reach out and sift through his thoughts, but you don't, your curiosity not enough of an excuse to cross such a line. So you wait, your hands clenched under the table, your eyes searching his face for some clue as to where this is going.

Rex seems to sense your apprehension, and he sighs. He puts his menu down and leans forward, his eyes fixed on yours.

"You're different around him," he says carefully. "Around everyone else, you're..."

"Distant," you offer. Your voice is soft, and a bit sad. You're not proud of the fact, and you're not sure how else to describe it. "Unfriendly. Cold. Difficult. Take your pick."

Rex is quiet for a moment. He's not judging, and he doesn't seem angry. In fact, if anything, he looks a bit hurt.

"I was going to say intimidating," he corrects, frowning. He tilts his head. "Is that really how you see yourself?"

"Isn't it how everyone sees me?" you challenge.

"I don't."

"Liar.” You scoff. You lean back in the booth and arch an eyebrow. "We barely know each other."

"I think I'm beginning to understand you pretty well," he argues. "And I don't think I've ever met someone more selfless or compassionate." 

"You should get out more."

"Seriously," Rex says. He sits up and holds your gaze. "I’m not the only one who thinks that way. Everyone else, they just...don't know you well enough."

"You don't know me at all," you tell him. "Not really."

"Maybe not," he says. "But I'd like to."

You stare at him, unable to believe what you're hearing.

"Why?"

He's silent for a few moments, his brow furrowing. His jaw is set and his eyes are focused on the table, his fingers tapping against the surface. Finally, he looks up at you, and he sighs.

“Because I think it’s important to know who you're fighting beside," he explains. "And I'd rather die knowing the person standing next to me."

"That's a pretty bleak outlook," you mumble. You can't argue with the sentiment, but the words still sting. You've never been much for talking about yourself, and even less for sharing personal information.

You pick up your menu and hide behind it, pretending to look over the lunch options. "And there’s not much to know."

"I find that hard to believe." Rex reaches out and gently pulls the menu down, his eyes meeting yours. "Look, I didn't mean to offend you. Or pry. I just—"

"I'm not offended," you say, and you shrug. "Just surprised."

"Why's that?"

"It's just rare to hear someone say they'd like to get to know me," you explain. You pause, and then, after a moment, you decide to continue, "Most people either already know who I am or don't want to know. There's no middle ground."

"That's unfortunate," Rex replies. He picks up his menu again and looks it over. "And unfair. You're not all that bad."

"Not all that bad," you repeat with a small smile. "I'm flattered."

"You should be," he says. He glances up at you, and his face is serious, but his eyes are shining with mischief. "I'm an excellent judge of character."

You chuckle, and the tension breaks as FLO returns with two mugs and a carafe of caf. You manage to persuade her to leave the pot, and Rex can't hide his delight at the first sip, his eyes closing as he takes a deep drink, a content sigh escaping him. You bite your cheek in an effort to disguise your smile as he practically moans.

"I take it the stuff in the mess hall isn't as good as this?" you tease.

"Nothing's as good as this," he murmurs. He opens his eyes and gives you a sheepish grin. "Sorry. It’s been a while since I've had a proper cup of caf."

"I can imagine," you laugh, and you nod toward the pot. "There's plenty more."

"You're my hero," he jokes. He picks up the carafe and refills his cup, taking another sip, his eyes fluttering closed again. He shakes his head and smiles at you. "Best cup I've had in a long time."

"I'm glad you approve," you say as you pour your own drink and spoon sugar into it, trying to hide your amusement. 

You're not sure why, but you like watching him enjoy things, even something as simple as a mug of caf. There's something sweet and charming about it, something almost innocent. He's seen far too much for someone his age, and yet, he still manages to hold onto his optimism and his spirit. He's not jaded or cynical. He's a good person, one of the best you've ever met, and you're finding it hard not to admire him. 

You pick up your mug and lift it in a toast. "To proper caf."

"Proper caf," he echoes. He knocks his cup against yours, and the two of you drink. He sets his mug down and leans back in his seat. "So, what do you recommend?"

"What do you like?"

"Honestly? No idea," he answers. He gestures toward the menu. "I'm a bit out of my depth here. Never had real food. Only rations, or whatever the mess serves."

"Right," you say. You take a sip of your caf and scan the page. "How about I order a few things, and we can share?”

“That would be great,” he says, sounding relieved. “Don’t want to embarrass myself.”

“Oh, please," you snort. You wave a dismissive hand and give him a smile. "No worries. It'll be our secret."

You flag down FLO and order, and Rex falls silent, his gaze focused on the window, his thoughts seemingly elsewhere. The droid wheels away, but he doesn’t look back over. He takes another drink and sighs, his fingers drumming the table, his brow furrowed slightly. 

You tilt your head, waiting, and he lets out a breath, his expression becoming neutral as he turns back to you. 

"If I ask a question, will you answer honestly?"

"Depends on the question."

"Fair enough."

He drums his fingers on the table again, and then he squares his shoulders and clears his throat, his eyes focused on your face. His expression is calm, but you can feel a hint of apprehension. Whatever he's about to say, he's nervous. And that makes you nervous.

"The last time we spoke, you seemed certain that the Jedi Council was going to punish you," Rex says slowly. "And you knew how they were going to handle Ahsoka. Like you were speaking from experience."

You stiffen and take a sip of caf, avoiding his gaze and hoping that he doesn't notice your sudden discomfort, but it doesn't take a genius to know that you've been caught off guard. And that you're not particularly keen on talking about the subject. 

You'd thought you'd done well to avoid the topic of your past indiscretions during your time with the Order, but apparently, you hadn't been as subtle as you'd hoped. Rex was too smart for that. You should have known better.

"That's not a question," you tell him. It's an obvious deflection, and the way his eyes narrow makes it clear that he's not buying it. But it's a deflection nonetheless, and you're not inclined to give him an honest answer. 

"Would you be willing to answer if I asked it?" Rex asks cautiously. He hesitates, and you can feel him probing, trying to gauge how receptive you are. 

You give him nothing, your face a carefully constructed mask of polite indifference. It's the expression you'd perfected as a youngling, and the one that has served you well for years. It's kept people from asking questions, and it's kept you from having to answer them. 

Rex seems to recognize it immediately, and he lets out a breath, a rueful smile on his lips. He leans back in his seat, his eyes studying your face, his jaw clenching and unclenching, and he lets out a low chuckle.

"What?" you ask, your brow furrowing.

"Nothing," he says. He shakes his head and shrugs. "Just starting to understand why you and General Skywalker get along so well.”

"Meaning?"

"Meaning the two of you are both stubborn," Rex chuckles, and he picks up his mug and takes a sip. "He does that same thing, the whole stone wall routine."

"Does he?"

"Yeah."

"Good for him."

Rex scoffs and shakes his head again, but he doesn't say anything, his gaze drifting back to the window. There's a slight crease between his brows, and you can tell he's debating whether or not to drop the subject.

“Look,” he starts. He turns back to you and meets your eyes, his face serious. "I can tell you're not comfortable talking about it. I just...want to know what to expect. What I can do. How I can help."

"I don't need your help," you tell him. It's a knee-jerk response, one that has always been your go-to, and you know it's not exactly true. You sigh and shake your head. "I mean...it's not that simple."

"Okay." He nods, his face patient, his eyes kind. "Can you explain?"

"It's...complicated." You hesitate, and you pick at your nails, staring at the table, your mind racing. You're not sure how to begin, or where to start, or what to say. How to put into words the shame and guilt and regret. You open your mouth, and the words are there, but they're stuck in your throat, refusing to budge.

Rex watches you for a few seconds, and then he sits forward and picks up the carafe, pouring more caf into your mug. You blink, the spell broken, and he pushes the cup toward you along with the sugar you’ve been using.

"Here.”

"Thanks," you reply, grateful for the interruption. You add the sweetener, and stir, your eyes on your mug. 

"It's okay. You don't have to tell me,” he says softly. His hand is resting on the table, his fingers tapping the surface. "I'm sorry. I shouldn't have pressed."

"It's not that I don't want to," you tell him, the words tumbling out. “Well, okay, it is, but...not for the reasons you're thinking."

"Then what are they?"

You sigh, and you rub your eyes, the exhaustion from the night before settling in. You don't want to lie, and you're tired of secrets, and he's been nothing but understanding and supportive. If there's anyone who might understand, it's him. 

"I'm just...not a very good Jedi."

"You can't be serious," Rex says. He looks appalled, and a little indignant. He shakes his head, and his mouth presses into a thin line. "Of course you are.”

"Hardly." You scoff, and you gesture vaguely in the air, not meeting his eyes. "I have a very complicated relationship with the Council. One that involves me doing the opposite of whatever they want me to do. On multiple occasions."

Rex smirks. "Another thing you and General Skywalker have in common."

"Maybe," you admit. "But I've been on their shit list longer than he has."

"And what have you done to earn that?" he asks. His tone is light, but his words are direct, and a little pointed. He's not judging you, but he wants an answer. A real one. And you're not sure you can give him one, but you try anyway.

"I...have a lot of opinions. And I'm not very good at keeping them to myself, as you know. The Council doesn't appreciate it, and neither do some of the other Jedi."

"That's hardly a crime," he points out.

"Maybe not," you concede. There's a moment of silence, and then you take a deep breath and let it out slowly. "There's...something else."

"Something else?"

"It's not just the opinions."

You fiddle with the spoon, trying to find the right words, trying to figure out how much you should tell him. But the truth is, you don't want to have any more secrets. You trust Rex, perhaps more than you should, and the idea of sharing this particular secret with him is oddly appealing And maybe, just maybe, it will help.

"I'm...not always in the best place, mentally," you finally confess. You keep your voice low, and your eyes on the table, afraid to look at him. You've never said the words out loud, you’ve never had to with Obi-Wan, and he’s the only one you’d ever spoken to about this. The only one still alive, anyway. "Obi-Wan's been...kind enough to overlook it. For the most part."

"For the most part?"

"He has his limits," you explain. You run a hand through your hair, your eyes still downcast. "There are certain things that are...not permitted. Or rather, certain ways that Jedi shouldn't behave. And, as far as the Council is concerned, my behavior has crossed that line on several occasions."

"What sort of behavior?" Rex asks quietly.

"You mean besides arguing with them and disobeying their orders?" you counter.

"Yeah."

You hesitate. You've come this far, and you know you've already said too much, but there's no turning back now. You take a deep breath, and you push aside your pride and your anxiety, your eyes meeting his.

“This doesn’t leave this table, alright? If I tell you, it doesn't go any further. No one can know. You understand?"

"Of course," he agrees immediately. "I won't say a word."

You take a long drink of your caf and let out a sigh, your gaze falling back to the table. It's now or never.

"When I was a youngling, I was apprenticed to a Master," you tell him, keeping your voice low, even though the diner is mostly empty. "Her name was Yaddle. She was one of the High Council members. By that point, I’d had a...history. Of trouble. Of making trouble. I was a handful."

"A handful?" Rex asks, and the corner of his mouth twitches.

"Oh, yes." You roll your eyes, and you can't help the smirk that crosses your face. “Starting fights, running off, talking back, getting in the way, breaking rules. Anything and everything I could think of to get attention."

"And why would a kid like that be apprenticed to one of the most important people in the entire Order?" he asks. "Didn't anyone else want you?"

"No," you admit, and you laugh, a bitter, hollow sound. "Not really. Most people didn't want anything to do with me. The Masters all thought I was too much of a problem. Too difficult."

"Why'd she take you?"

"I don't know," you confess. “At first, I thought it was a punishment, but...after a while, I realized it wasn’t. She genuinely wanted me. And she was the first person who did. I mean, really wanted me."

Rex nods, his face solemn. "What happened?"

"She died," you answer bluntly. You stare at the table and shrug, your eyes burning, and you bite the inside of your cheek. "After the Naboo incident, I’d gone to attend the funeral of Obi-Wan’s Master. She was supposed to come with me, but she said she needed to stay on Coruscant. She said she'd catch up later. But later that night, I felt it. The moment she was gone. I just...felt it. It’s hard to explain if you haven't experienced it. The severing of the bond."

"That must have been rough," Rex murmurs.

"It was," you agree. You swallow hard and look up at him, and the concern and sympathy in his eyes almost breaks you. "And the worst part was, no one believed me. They told me it was my imagination, or a trick of the mind, or a hallucination. But I knew what I felt. She was gone.”

"That's terrible," he says, his voice quiet. "I'm sorry."

"Don't be. I can’t say it was entirely unwarranted." You let out a bitter laugh and take a drink of your caf. “After she was gone, I was...angry. Really angry. And the Masters and the Council were so busy trying to keep the Order together, no one paid any attention to me. Which meant no one noticed when I started investigating. On my own."

"Investigating what?"

"Her death." you say. You finish your caf and set the cup down, turning it between your fingers, and you let out a long breath. You glance around and lower your voice even more, and Rex leans forward, his brow furrowed. "It was murder. I know it was. I managed to find a few clues, but nothing concrete, and I…”

You trail off and stop, suddenly unable to continue. Your mouth goes dry, and you feel sick. You know what you did. You know what you've done, but saying it out loud makes it real. It means you're acknowledging the worst thing you've ever done, and, while you've done some terrible things, this was different. This was personal. And it hurt. More than anything.

"You did something." Rex's voice is soft, and gentle, and there's no judgement, only understanding. You don't deserve it. You know you don't. But it's hard to ignore the warmth that fills your chest. You nod, not trusting yourself to speak. "What was it?"

“It wasn’t intentional. It wasn't like I'd planned to do it. It just...happened," you explain. Your hands shake slightly, and you curl them into fists to steady them. "Obi-Wan and I had an argument, and I stormed out. I went off alone to the Undercity, and I was angry, and hurt, and...and I wasn't paying attention."

"You weren't paying attention?" Rex repeats, his brow furrowed. He sits forward, his eyes narrowed, and his mouth is a tight line. "What do you mean? You weren't paying attention to what?"

"I let my guard down," you tell him. You hesitate, and then continue. "I should've known someone would be after me. After what happened. But I was too busy trying to figure out what to do next that I didn't even think..." 

You trail off and close your eyes. You can feel the tears threatening to spill over. You open your eyes and force yourself to meet his. "I was tricked into entering a trap. By the time I realized it was a set-up, it was too late.

"I found some of Yaddle’s things planted there, and then I was attacked. They used the Force to restrain me," you say evenly. "They put me in a chokehold somehow. I couldn't move or speak or fight back. They told me that I should've stayed away. And then, they..."

Your throat closes and your chest tightens as the memory flashes across your mind, as fresh as the day it happened. You can feel the cold, damp air of the Undercity, the pressure around your neck, the sound of their voice in your ear, the taste of blood in your mouth. 

The rage and fear and shame are just as strong as they were back then, and you have to clench your hands into fists to stop them from shaking, the urge to scream and break something almost overwhelming. You take a few seconds to calm yourself, and when you speak again, your voice is hoarse.

"They tried to kill me," you say. "And something inside me…clicked. A power I didn’t know I had. I lost control. I nearly collapsed a building on us both. The attacker escaped." 

You pause and take another deep breath. "I don't remember much after that. I was barely conscious. All I could think about was getting out. I don't know how I made it back to the Temple. I only found out later that some civilians were caught in the collapse."

Rex doesn't respond. His jaw is clenched, his mouth set, and his eyes are focused on you. You’re taken aback by his reaction, the force of it a surprise. You had expected sympathy or concern. Pity, maybe. But not anger.

"What?" you ask.

"How long ago was this?" 

“I was twenty, so...about ten years ago."

"Ten years," Rex repeats, his expression darkening. "You've been carrying this around for ten years?"

You sit back and fold your arms across your chest, watching him. You can’t help but feel defensive, and more than a little irritated.

"You seem upset."

"You almost died," he snaps. He lets out a huff and shakes his head. "Someone set a trap for you, and you almost died."

"That's generally what happens when you're careless." You try to keep your tone light, but the look he gives you is fierce. His eyes are hard and cold, his jaw tight, and his shoulders are tense. He's furious. You frown. "You're not mad at me, are you?"

"What?" Rex asks. He blinks, and his face softens slightly. "No. No, I'm not angry with you. I'm just...concerned."

"You don't need to be."

"I think I do," he counters, and he leans forward, his eyes searching your face. “Who was it? The person who attacked you?"

"I don't know," you say honestly. "I never saw their face. But I have a few theories that I’m still trying to confirm."

"Any suspects?"

"One."

"Care to elaborate?"

"Maybe."

Rex's frown deepens, and he leans back, his expression wary. "What aren't you telling me?"

"A lot." You shrug, and he rolls his eyes, which makes you smile. "I'm not trying to be coy. There's just a lot of information that isn't relevant to the current situation. Or your job."

"I disagree."

"You would," you scoff. You sit back and cross your arms over your chest. "Look, this is...really hard for me, okay? And I'm not exactly eager to relive the whole thing. Especially with someone who could easily report me."

"I wouldn't," he says, quick and earnest, and his brow furrows. “I gave you my word, and I intend to keep it. But, if there's someone out there who wants you dead, we should be aware."

"There are a lot of people who want me dead," you reply with a huff of laughter. “That comes with being a Jedi. We tend to piss people off."

"This was personal," Rex argues. He sits forward, his eyes narrowed, and his hands folded on the table. "You said the attacker told you that you should've stayed away. They knew you."

"I did."

"Which means they're likely connected to your investigation into Master Yaddle's death," he points out. “Potentially even the murderer themself.”

"Maybe."

"So who do you think it was?"

You give him a long, hard look, and he meets your gaze. His eyes are unflinching, and his jaw is set. He's not going to back down. And, even though you know you shouldn't, you can't help but admire him for it. He's stubborn and tenacious, and it's hard to refuse him. Harder than you'd like to admit.

You sit forward, folding your hands in front of you, and your voice drops to a low whisper. “Dooku.”

"Count Dooku?" Rex repeats. He blinks, and his eyes widen. He glances around, leaning forward and keeping his voice low. "Are you serious?"

"Yes."

"Dooku," he whispers. His mouth sets in a grim line, and he shakes his head. "That's...that's a pretty serious accusation."

"I know." You sigh and lean back, running a hand through your hair. "Look, I've had a lot of time to think about it, and it makes sense. Dooku has the resources and the ability. Plus, he has a personal connection to Yaddle, and he was missing from the funeral the night she died, despite Qui-Gon being his Padawan. The only thing I’m still shaky on is the motive.”

"That's a solid theory,” he admits, his tone resigned, as he rubs the scar on his chin with his thumb. “On Geonosis, you wanted to go after him. I stopped you.”

“Yeah, well, it turned out to be a good call." You snort and shake your head. “If I had, I'd be dead. He probably would've killed me before I even got close."

"Still," he insists. He takes a deep breath, and he studies your face. "So what happened next?"

"Next? I tried to forget it ever happened. And, for a while, I succeeded," you answer. You can't keep the bitterness out of your voice. "I didn't tell anyone. Not the Council, not Obi-Wan. Nobody."

"Why not?"

"Because I didn't have proof. I had a necklace and a few vague memories."

You shrug, and he raises an eyebrow, clearly not convinced. You let out a frustrated sigh, and you drop your gaze to the table.

"It was easier, alright? I was afraid. If I told them the truth of what happened, and the power I used, they'd send me away," you confess. You pick at your nails, and your voice is quiet. "The Council was already looking for a reason to get rid of me. If they found out what I'd done, that I'd nearly killed civilians, even if it was an accident...I’d have been expelled or sent to rot in the Citadel."

"They'd do that?"

"Without hesitation," you tell him. "They're not exactly big on second chances when it comes to the Dark Side. And they were already convinced I was going to fall."

"That's absurd."

"Is it?" You glance up at him and smirk. "They were right, in the end."

"Don't say that."

"Why not? It's true."

"No, it isn't."

"Rex—"

"No," he says firmly. He reaches out and gently tugs your hands away from where they're picking at your nails, and he squeezes once before dropping them. "Whatever happened, whatever you did, it doesn't define you. You're a good person."

You bite the inside of your cheek and shake your head. "I’d hold your applause until the end."

"I'm serious."

"So am I," you snap. You sit forward, your hands curling into fists. "You're acting like I didn't do anything wrong, or that I'm somehow an innocent party in all this. I’m not. What I did was terrible. And the consequences were severe."

"I understand, but—"

"You don't," you say flatly. "You can't."

He opens his mouth, and you hold up a hand, stopping him. You take a deep breath and close your eyes, forcing yourself to calm down.

"Sorry," you murmur. You rub a hand over your face and shake your head. "This is a lot harder than I thought."

"You don't have to explain anything," Rex says quietly. His voice is warm and soothing, and when you look up, his eyes are kind. He offers a small smile, and you try your best to return it.

"I know. But I want to."

"Are you sure?"

"No," you sigh. "But I'm doing it anyway."

Rex nods, and you let out a breath. You can feel the anger and shame and guilt still simmering below the surface, but it's tempered by his reassurance. 

"So," you continue. "Where were we?"

"After the attack," he answers, his eyes on your face.

"Right. Well, things were...awkward, to say the least," you admit as look out the window. "For a while, no one would talk to me. They avoided me, or looked the other way, or pretended not to see me. Which was fine, I guess. I wasn't exactly keen on talking to anyone either."

"What about General Kenobi?"

"Obi-Wan? No. Not really." You hesitate, and then you shake your head. “Actually, no. Not at all. He didn't say a word to me."

"That doesn't sound like him," Rex remarks.

"No, it doesn't," you agree. You can't hide your bitterness, and Rex seems to notice.

"Did he say why?"

"Not at first. We didn't really speak to each other for the next decade, actually," you say, your tone dry. "We kept our distance. He was busy training Anakin, and I was busy..."

"Busy what?"

"Busy trying not to lose my mind," you answer, your voice hollow. You swallow hard, and force yourself to look him in the eye. "The isolation was hard. No one wanted anything to do with me, and I was...paranoid. I thought everyone was watching me. Waiting for me to slip up. So I kept my head down. I did my duty. I served, I waited.”

"Waited for what?"

"An opportunity." You let out a slow breath, and you can't stop the bitterness from seeping into your words. "Turns out, that opportunity was the Clone Wars. You know what happened on Geonosis, but later, before we were…reunited, I was sent on a mission. I encountered the man who lured me into the trap, and, when I realized it was him, I...lost control. Again."

"You lost control." Rex frowns, his eyes narrowing. He leans forward, his hands on the table, his gaze locked on yours. "What happened?"

“I left my charge to track him down. He didn’t have much to offer, just that he was paid anonymously to lure me into the Undercity." You rub your temples, the memory flashing through your mind. "While I was interrogating him, the Senator that I was protecting was attacked. 

“I hurt people that day saving her, and when I returned to Coruscant, the Council decided that enough was enough. They suspended me from duty and placed me under constant supervision. I was a liability, and an embarrassment. They told me that, if I continued to act like a child, I would be treated like one."

"That's harsh."

"It was fair," you say, and he scoffs. "They didn't trust me. I didn't trust myself. I was angry and reckless and out of control, and I hurt the people I was supposed to protect. The only way I could protect anyone was by staying out of the field and away from the war. I'd failed. I'd let my emotions get the best of me, and it had almost cost me everything."

"That doesn't make it right," he argues. "What you did, losing control, it was an accident. They shouldn't have treated you like a criminal."

"I was a danger," you remind him. “And the Order can’t afford to have unstable Jedi. It's our job to maintain order and peace. We can't do that if we can't control ourselves."

"You weren't dangerous. You weren't unstable," he argues. He takes a deep breath, and when he speaks again, his voice is softer. "You were scared. I may not be a Jedi, but I know what fear does. It's a survival instinct. And, sometimes, the body does things to protect itself that the mind doesn't understand. You weren't in control of yourself. It was an accident."

"It doesn't matter," you reply. You sigh and run a hand through your hair, a wave of exhaustion washing over you. “We’re supposed to be able to control ourselves. Our feelings, our actions, our thoughts. We're trained to use the Force, it's not supposed to be the other way around. What I did...what happened...it was wrong. And it can’t happen again. Not ever."

Rex falls silent, his brow furrowed, his eyes fixed on your face. After a moment, he nods, and he sits back in his chair, letting out a long breath. 

"Okay."

"Okay?" you repeat incredulously. "That's all you're going to say?"

"Yes," he answers. His mouth twitches, and his eyes meet yours. "What did you expect me to say?"

"I don't know," you confess, and you can feel a small grin forming. "Kinda expected you to lecture me, honestly. Maybe argue with me a little bit more."

"Do you want me to?" Rex asks, the corner of his mouth turning up in a wry grin when you roll your eyes. "Because I can. You seem to enjoy arguing with me."

"It is fun," you admit, and his lips curve into a full-blown smile, his eyes sparkling. "And you are good at it."

"That might be the nicest thing you've ever said to me."

"Don't let it go to your head."

"Too late." He chuckles, and it's such a genuine sound that you can't help but join him. The tight knot in your chest loosens slightly, and you let out a breath, a wave of relief washing over you.

You feel lighter, as though a weight has been lifted from your shoulders. There's a quiet calm in the air, and you allow yourself a moment to relax. You can't help the small flutter in your chest when Rex’s eyes meet yours, his smile bright.

He looks younger when he smiles, the stress and tension gone from his face. You like seeing him this way. Happy and relaxed. It suits him.

"Thank you. For trusting me,” Rex says, voice soft and sincere.

"Well, thank you for listening." You take a drink of caf and smile at him over the rim of your cup. "And thank you for not judging me."

He shakes his head. "You don't need my judgement. You're doing enough of that yourself."

"I am not," you protest. He raises an eyebrow, and you scoff. "Okay, maybe I am. But only because it's true."

"Maybe," he says. "But, if you don't mind me saying, it's also unnecessary."

"I do mind,” you mutter. "I was reckless and arrogant and stupid, and a lot of people got hurt because of it. Including me."

"You made a mistake." He shrugs, and his smile fades, his expression becoming serious. "Everyone does. That doesn't make you a bad person. Or a bad Jedi."

"Then what does that make me?"

"Human."

You snort, and you take a long sip of caf, trying not to roll your eyes. Rex chuckles and ducks his head. "All right, that was cheesy, I'll admit. But it's true. That's what makes us different from droids. We're flawed. We make mistakes. It's how we learn."

"Some of us more than others."

"True."

"You're being too nice to me," you tell him, only half-joking. You finish your caf and set the mug on the table, folding your hands in your lap. "You're making me uncomfortable."

"I'm not," he argues. He tilts his head, studying you. "I'm being honest."

"Same difference."

Rex huffs, exasperated, and his eyes roll up. "Why does everything have to be a fight with you?"

"It doesn't," you say. You smile, and it's a real one. "Just most things."

He starts to reply, but FLO returns before he can, rolling to a stop beside the table with a tray floating beside her. It's overflowing with food, and the smell is incredible. Your mouth waters. You're hungrier than you realized.

"Here you go," she chirps. She lowers the tray onto the table, and she starts unloading the plates. Rex's eyes are as wide as yours, and the both of you sit in stunned silence, watching as the diner droid arranges the food with a flurry of mechanical arms. "This is the breakfast platter, the lunch platter, and the dinner platter. Enjoy."

"FLO, wait," you call, but the droid is already rolling away. "There's way too much food here."

"Not a problem," she says cheerfully. She stops and turns around, her mechanical arms whirring. "Anything for you, honey. You just let me know if you need anything else."

"Thank you," you say, smiling. She lets out a pleased beep and rolls away, leaving you alone with Rex and more food than either of you could possibly eat. "Wow."

"Wow," Rex echoes. He's staring at the table, his eyes wide, and you're pretty sure you've rendered him speechless. He shakes his head, his mouth hanging open, and he meets your eyes. "Is it always like this here?"

"I mean, yeah, but this is a lot, even for her," you say. You glance at the tray and let out a low whistle. "She must really like you."

"Lucky me," he mutters, and you snort. He frowns at the pile of food, his brow furrowed, and he glances at you. "So, how are we doing this?"

"You need a strategy for everything, Captain?” 

"No."

"Then stop stalling," you tease, and he fixes you with a flat look. "Just try what looks good. If we can't eat it, she'll pack it up. Don't worry."

"Right," he says. He hesitates, and you roll your eyes and snatch a slice of toast from the plate. "How are we splitting this?"

"I don't know. You pick first, and I'll grab whatever's left." You take a bite of the toast, and Rex gives you a long look. You shrug, your mouth full. "What?"

"Nothing."

"Then quit looking at me and eat."

He sighs, but he reaches for a bowl, and for a few minutes, the two of you eat in companionable silence. You keep an eye on Rex, watching him from the corner of your eye as he tries everything FLO has given him. His expression is thoughtful, and he takes his time, trying to decide what he likes best. He's savoring every bite, and every time he takes a sip of caf, his face relaxes, his shoulders sagging. 

It's kind of endearing, in a weird sort of way. And, as you watch him, a small, traitorous part of your mind wonders if it'd be so bad to have this every day. This quiet. This calm. You quickly banish the thought, and you shove another piece of bread in your mouth.

You can't think like that. You can't allow yourself to become attached.

You don't realize you've been staring until Rex looks up, catching your eye. His cheeks flush and he puts down his fork.

"Sorry," he says, a little sheepishly. He gestures vaguely at the food. "I didn't mean to—"

"Don't be sorry," you cut in. You shake your head, and the words come out without your permission. "It's cute."

Rex's eyebrows shoot up, and he lets out a short, sharp laugh, the corner of his mouth turning up in a half-smile. "Cute?"

"Yes," you say, and you try to sound confident, but you can't quite keep the edge of embarrassment out of your voice. You duck your head and take a bite of fruit, keeping your gaze focused on the table. "Relax. You're fine."

"If you say so."

"I do."

You can feel him watching you, and you resist the urge to hide behind your hands. Instead, you take another bite, and you're careful not to look at him, afraid you'll make things even more awkward than they already are. You can still feel his eyes on you, and the heat rises in your cheeks, your ears burning.

"So," you start, the silence suddenly unbearable. "Any big plans while you're on shore leave? Aside from eating.

"Not really," he admits. He takes a long drink, and he leans back in his seat. "I was just going to rest, honestly. Catch up on reports. Maybe spend some time in the sims."

"You can't just spend a day relaxing?" you ask. He shrugs, and you can't help but smile. "What do you do for fun?"

"Fun?"

"Yeah." You gesture vaguely in the air, and you tilt your head, watching him. "Like, something that doesn't involve work."

"Oh." Rex frowns and stares at the table. His expression is thoughtful, and you get the sense that no one's ever asked him that question before. He meets your eyes and shrugs. "I don't know. I read, sometimes. Watch the holonet. Train. Nothing exciting."

"You like to read?"

"I like to learn," he says. He gives you a half-grin, and he picks up his fork, poking at the scrambled eggs on his plate. "You can learn a lot from military history. And there's not much else to do on a starship other than train or sleep. Reading's a good way to pass the time."

"Fair point."

"What about you?"

"Me?"

"Yeah," he says. "What do you do when you're not on duty?"

"Honestly? The same thing as you," you confess. He snorts, and you shrug. "I'm not exactly a social butterfly, if you haven't noticed. Most of my free time is spent in the library, or the Temple gardens."

"I have noticed."

"Well, there you go."

Rex smiles, and he shifts in the booth, stretching out his legs. His knees brush yours under the table, and you ignore the rush of warmth that courses through your veins. It's strange. He's wearing armor, and the touch should be cold, hard, uncomfortable. Instead, it's the opposite. His armor is warm and solid and sturdy. Comforting, even. 

You shift your legs away from his. You need to stop.

"Tell me," you start, and Rex glances up. He's still smiling, and he's watching you intently. You gesture at the empty plate in front of him. "Was that better or worse than the rations?"

"Better," he answers immediately. He grins, and his eyes meet yours, soft and bright. "Definitely better."

"Good." You smile back, and you can't help but be proud. Your foot nudges his under the table. "I'm glad."

"Thanks for this," he says, nodding towards the tray of food. His gaze meets yours, and his voice is warm and sincere. "For bringing me here. It's...it's nice."

"Of course," you say. You duck your head and try to ignore the sudden rush of warmth in your chest. You swallow hard and focus on the table, pushing down the feeling. "We can come back again, if you want. There's plenty more I can show you. If you're interested."

"Yeah?"

"Yeah."

"Okay," he says. His smile is gentle, and he tilts his head. "I'd like that."

"Me, too," you say. You smile back at him, and his lips twitch. His foot nudges yours, and, this time, you don't move away.

The rest of the meal passes quickly. You finish eating, and the two of you sit for a while longer, chatting about everything and nothing until the sun begins to dip lower behind the buildings towering over you.

Eventually, though, it's time to leave. You pay for the food, ignoring Rex's protest with a quip about the Republic’s illimitable pocketbook, and you head outside into the late afternoon sun. The street is busy, filled with the bustle and noise of people going about their lives, and the two of you stand on the sidewalk, unsure of what to do next.

"So," Rex starts, and he rocks back on his heels, his hands clasped behind his back. He looks awkward, almost nervous. "I guess I should go."

"Yeah," you say, and, despite the fact that you've been telling yourself all day that this is a bad idea, your heart sinks. You gesture vaguely toward the Temple looming in the distance. "Me too. I've got some things I should probably deal with."

"Right."

The silence stretches between the two of you, and neither one of you moves. After a few seconds, Rex clears his throat, and he meets your eyes.

"Thank you again. For bringing me here," he says, his voice soft. "And for the food."

"Don't mention it," you reply with a small smile.

You look down at the ground and kick at a stray stone, trying to bury the sudden pang of sadness. You'd had fun. More fun than you'd had in a long time, but you're not naive enough to believe that this is something that can happen again. Your schedules are far too erratic, and you're not sure you can trust yourself around him. The brief physical contact is already beginning to wear on your resolve. 

"I'll see you later then," you tell him, forcing a casual tone.

"Later," he agrees. 

He takes a step forward and hesitates. For half a second, you think he might hug you, which is a ridiculous thought. He wouldn't. And you certainly wouldn't let him. But there's something in the way he's looking at you, the way his eyes flick down to your lips, the way his hands flex at his sides. 

For a moment, everything feels frozen. Neither of you move, and neither of you speak. The noise of the crowd seems distant, and the world falls away. It's just the two of you, standing there, waiting. Waiting for something, anything.

And then Rex nods stiffly, his hands resting on his hips, and he takes a step back. "Take care, sir."

"You too, Captain."

You turn and walk away.

When you finally make it back to your room in the Temple, you flop down onto your bed, your head buried in the pillow. You let out a long sigh and close your eyes, the sound of Rex's voice still ringing in your ears. 

He'd been kind and charming and sweet, and he'd listened to you and laughed with you and made you smile. And, for a brief moment, you'd forgotten all about the war, the Order, and everything else. You'd just existed.

It was stupid. You were stupid.

But you'd had fun.

It'd been nice.

Really, really nice.

"Shit," you mumble into your pillow. You roll over and stare up at the ceiling, and you groan.

This is going to be harder than you thought it would be.

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[apple-salad]

Rose Ribbon Embroidery "Mini" Projects (for BABY NYFW) Part 2: Embroidered Bonnet

I decided semi-last minute to attend BABY's fashion show at NYFW!

BABY had mentioned in their NYFW brand description that their newest collection would be a return to their origins, as well as presenting archival items.

You have to dress to impress for NYFW, right? So of course, I had to pull out all the stops and wear my Rose Ribbon Embroidery.

Also at the last minute, I decided to make a few extra complementing items...

A matching RRE kumya JSK, and a bonnet.

What follows is more of a sew-along/journal rather than a tutorial or guide, mainly for my own memory's sake. But if you enjoy looking at my process (sometimes sloppy), I'm happy!

Also feel free to take a look at the more romantic process video I edited.

Part 1: Kumya JSK

Part 2: Bonnet (you are here)

This post will be my process pictures and notes for the bonnet, as well as a matching mask as a bonus.

I don't believe BABY released matching headwear for Rose Ribbon Embroidery, although I've seen an unknown velveteen headbow with rose lace sold with RRE before.

BABY usually coords RRE with the bunny ear bonnet since Ichigo wears it this way in Kamikaze Girls.

I do own this because I wanted to wear an Ichigo-like outfit at some point, but for this occasion I decided to do something different and make a "matching" embroidered bonnet.

I originally wanted to make a hard bonnet with a very defined brim that could show off the embroidery clearly as I don't really like soft bonnets, but when looking at existing BABY bonnets as a reference, it doesn't look like hard bonnets were a thing back in 2004 (and as it is, BABY rarely releases hard bonnets). So to keep with the oldschool theme, the bonnet is a soft one, although I later make some decisions to make it slightly more structured.

The next decision to make was full bonnet vs half bonnet. The bunny ear bonnet is a full bonnet and I think this is technically more "period accurate", but I am not a fan of how they look like a weird hood from the back so I opted for half (plus, that makes construction and patterning easier for me).

I still used my own bunny ear bonnet as a reference for approximate brim dimensions!

The kumya JSK was a little easier to carelessly sketch out and embroider since I was copying 1:1 from an existing design, but I felt I needed to do at least a bit more careful planning for the embroidery on this. I'm quite bad at creating embroidery designs from scratch, but with the mental image of the rose clusters and swags of vine, as well as referencing the embroidery from the film, I came up with this:

I wanted to emulate the embroidery style of the Momoko's (well, in reality likely the embroidery designer Onoe Megumi--unclear if she did the actual embroidery, but it's likely) embroidery, which I figured wouldn't be too difficult if I was also embroidering by hand.

For material, I am using the same velveteen I used for kumya's JSK. Not my first choice and I actually purchased some thicker looking 100% cotton velvet that I thought would be more similar to the original JSK material, but was worried it wouldn't arrive in time and wanted this project out of the way in case things went wrong/took longer than I expected (it did arrive about a week before the event, but it was totally wrong IRL so I'm glad I just went with this acceptable option). I also bought some more torchon lace, so I used that and another lace from my stash.

The colours of the embroidery in the film also seem to be quite different than BABY's dress. I'm not sure if the pink of the roses has faded over the years, but it has a slight salmon tone whereas the film's roses seem to be more of a pale cool/neutral pink (hard to tell with the yellow tint of the entire film) with some variegation. I love the colour scheme of the film's embroidery, but to keep things coordinated I try to opt for the same colours as the actual dress I have.

I only have white silk ribbon in the width I wanted, so I opted to attempt to dye it to match. Previously I have used alcohol markers to colour the embroidery afterwards, but I find the colour hard to control and it tends to bleed into the fabric. I've also tried colouring the ribbon with the marker before embroidering, but without heat setting the colour transfers onto the fabric as well (and it seems like trying to do so with the amount of ribbon I need would be a waste of ink).

I don't have a lot of experience with it, but since the ribbon is silk, acid dyeing seemed like the way to go.

Very interesting photo of ribbon in pot (the pink ribbon gets eaten up by pinwheel roses much faster than I expected so this is the second batch I had to dye--not ideal as they are definitely slightly different in colour but it's not too noticeable). In total, I think I had to dye 3 batches of ribbon and 4 for the pink ribbon as I just barely ran out near the end, and they are all slightly different colours. Thankfully the undertone is the same so it's difficult to tell unless you are really comparing up close.

I thought I would take this opportunity to use the "peach" acid dye that I bought years ago for another project, but this ended up being a mistake as the colour was totally off (maybe the red dye was too expired). I ended up using my regular fiber reactive procion dyes (with heat/acid), because I have many more colours I could mix together, and that was much better. I really should have done this from the start as I wasted perfectly good silk ribbon by making it too dark/off for my purposes (I ended up overdyeing it in pink so it's a usable colour now, but not for this project).

The silk seems to take on dye extremely fast--even just heating up the dyebath will colour it. In some cases I removed the ribbon before adding any acid at all because I felt the ribbon was already getting too dark.

I managed to get a fairly usable mossy green colour for the leaves and vines, however the pink still ended up being a little off/dark compared to whatever BABY used. It's not too bad here as one strand of ribbon, but when many layers are on top of each other in a rose it seems pretty dark. While not ideal, I think it's still okay, especially considering the embroidery colours used in kumya's JSK match nothing else (many pinks will be going on in this coord).

After dyeing and drying, the ribbon is super wrinkled so I ironed it and wound it on some spare card so it's ready to use.

And now I can start the arduous process of embroidery.

Like before, I mainly use a combination of ordinary ribbon stitches, pinwheel roses, and french knot roses. However, this time I try harder to duplicate, or at least evoke the appearance of the embroidery of the film.

It's interesting how plain and somewhat boring the roses look on their own, especially with this monotone colouring. The varied colours of the film's embroidered roses are lovely, but I decided against it here because the BABY dress has monotone ribbon roses.

The roses definitely seem to just be pinwheel style which is very easy and doable, however I am a bit more confused about the leaves. They look like a number of straight stitches in various lengths and directions that fill in a leaf-like shape. I have no idea if this technique has a name and if there is a proper method for it, because I am a silly beginner who is very uneducated in embroidery.

Anyway I do my best and hopefully I got close enough. Ribbon embroidery is really all about the texture, which is really lovely to look at. Except I have trouble looking at my own work for too long because I start nitpicking all the mistakes I made...

Adding the green and leaves really helps the embroidery come to life.

I took even fewer pictures of the embroidery process than kumya's JSK this time because it's not that interesting. I was definitely getting sick of doing the same pinwheel over and over...

I stupidly decided that aside from embroidering the front of the brim, I also wanted a little bit of embroidery on the back of the brim for interest, as well as on the side.

The designs I drafted out for these two pieces is much simpler, but still, more work....

Almost ready for construction! Hopefully a lot faster with the handwork out of the way.

I iron on some interfacing onto the back brim panel and the bonnet band for slight extra stiffness.

The bottom part of the brim is plain cotton sateen because I was worried that the part that touches the head would get dirtier more quickly it if was velveteen.

I wanted some lace gathered around the brim and an extra velveteen ruffle on the back of the band, so I prepare that now. The lace is gathered with a single gathering thread and sewn down before sandwiching between the two brim panels.

Brim sewn and topstitched (and band is ready for attachment).

The upper flowers ended up a little closer to the top of the band then I intended, but I think it's okay.

Gathering brim and attaching it to band. Because the velvet fabric is so thick, the usual "sew one line of stitching with a wide stitch length" not only made the fabric incredibly difficult to gather, but the thin polyester thread also continually broke when trying to do so. Therefore, I opted for an alternative method I think I'd remember seeing in my sewing machine manual of all things--a zigzag carefully stitched over a central gathering thread. This worked much better, although I probably should have used a thicker/extra strong thread as the central gathering thread because it did break the second time I had to gather the brim due to a mistake.

I also add a bit of lace to the inside of the brim. I think this adds some luxury and frilliness between the head and the bonnet's brim, so I wanted to add a small width. I probably could have used even more of the lace's width since it turned out very subtle when worn. But I still think it adds a small amount of interest to the innermost part of the brim and was worth adding.

Unfortunately here after sewing on both brim parts I realize that I gathered both using an incorrectly marked centre line, so I had to rip it out and do it again ;_;

Next, I can carefully align and pin the bottom of the brim to the bonnet and sew it down. I tack this down by hand because I'm not skilled/accurate enough with a sewing machine to topstitch both sides nicely at once (look closely, and my messy stitching is quite visible...)

I also fold in the raw edges and finish the sides of the brim by hand, leaving some openings for ribbon ties.

At this point I spray almost the whole bonnet with water to disperse and fade my markings. Unfortunately, some of the earlier batches of ribbon that I dyed (Can you tell the variance in the 3 dye batches I needed to do?) were probably not washed well after dying and seem to have bled into the fabric from the water...but hopefully it's not too noticeable.

Next I topstitched all around the brim and attached the ribbon ties.

I bought some double sided velvet ribbon in my last minute supplies shipment and made some bows from it. I think the material is a little thick and petersham would have worked alright as well, but the consistent velvet material feels more luxurious, doesn't it? I also think as an added benefit (?) the ribbon being plush and double sided made the bows more puffy looking.

I add some clips to the sides and a toupee clip to the top for security. I opted for a toupee clips because I think it's really the way to go if you don't want the head item to move at all, no matter how thin or slippery your hair.

Finished.

Bonus 1: rose accent pin

I was in a bit of a rush at this point as it was near the end of the week coming up to the show, so I didn't take any photos of the process here but the technique and templates I used were identical to my handmade faux rose rosettes I made for UM (and the bonus corsages). I have a post with all the details of this sitting in my drafts that I will post eventually, and I will update this post when that happens.

The brooch was just meant to add a bit of 3D faux flower accent to the bonnet, bringing in the rose motif even more. Partially inspired by the faux flowers BABY adds to their bonnets sometimes, like on Milk Tea Doll.

The fabric was "custom dyed" with the same fiber reactive dye I used for the silk. The fabric was further starched, cut out by hand, and shaped with flower iron tools before gluing together.

Bonus 2: matching embroidered mask

I wasn't sure about whether or not I wanted to wear a matching mask, but decided to do so for situations when I would want my face at least half-covered in public. I didn't really expect to be visible in fashion show pictures as someone in the back, but just in case. (I think this decision was worth it, although my makeup transferred all over the thing and in most pictures my face was even more unflattering. eh well)

I forgot to take a lot of pictures of my process for this, but it's very uninteresting and not dissimilar from every other mask sewalong from 2020. I draft out a design similar to the bonnet motifs on both of my mask panels (cotton sateen), and embroider.

I should have embroidered closer to the centre of the mask because when worn the embroidery is not very visible/covered by my hair at the sides. What can I do since the panels were already cut though...oh well!

The lining material is some Japanese CLEANSE Ex fabric I had bought previously to make masks during the pandemic. It's supposed to be antibacterial and antiviral, as well as washable, but I have no idea how well supported those claims are.

Sew together normally on both upper and lower sides, turn inside out, add a channel for nose wire and side channels for elastic.

I also have some mask elastic on hand so I use that.

And the finished outfit again with all my items~

Thank you for reading! If you ever feel inspired to take up a similar project, such as the kumya JSK, I'd love to see it!

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part Three

For Xiantober Day Five: Past and Present, in which the author gets very unhinged about what parts of the past are shown and how that’s affected by the present!

(Part One | Part Two | Full version on AO3)

The Power of Agency: Shaping the Narrative

When I've discussed Wei Wuxian's agency previously, I’ve talked about how what’s shown and omitted tells us about a character, and we’ve talked about the character himself. Though this is a niche topic, it’s not necessarily something out of the ordinary to analyse, and we can assume everything up to here has been in some way intentional.

This? Linking structure to a character’s in-universe preferences?

This is where we get unhinged.

Before I start, let’s quickly establish something which will be important later: although Wei Wuxian is the central character, MDZS isn’t strictly from his POV. While omitting events a character doesn’t like to dwell on and concealing things the character wishes to hide is common in books with only one narrator, MDZS has multiple narrators which it switches between relatively quickly. This includes Wei Wuxian, but it also includes nearly every major character that appears in the story, and omniscient narrator as well. As a default, this format doesn’t lead to this deliberate shaping and omission because of one character’s preferences, since we have many other sources of information and events – which is what makes Wei Wuxian’s influence over the narrative and structure so interesting. We could have access to a lot more information, and access to it at different times, than we do (and that’s not an insult, quite the opposite!).

To begin: we’ve established that times such as Wei Wuxian’s time on the streets, his three months in the Burial Mounds and his loss in the Siege aren’t shown because Wei Wuxian has little agency there. But that’s not the only special thing about them. They’re also the three most traumatic times in his life, and so moments Wei Wuxian himself either can’t remember, or doesn’t like to dwell on.

This is why discussing Wei Wuxian’s treatment of tragedy in his life was important. Firstly, it shows he doesn’t focus on the tragedy in his life, so the idea that the narrative not focusing on this tragedy relates to his character has merit; secondly, it affirms that this is not a passive trait, but a choice. Therefore, when the narrative omits events due to this aspect of Wei Wuxian, it’s respecting not only a character detail – which would be cool by itself – but also an active decision. One that shapes the story it’s made in.

In other words, its very structure is respecting Wei Wuxian’s agency!

Now, of course there are flashbacks to other moments of his past he probably wouldn’t like to dwell on, too. But within the structure, they’re only shown when Wei Wuxian is thinking about them (or when he has reason to)!

Wei WuXian hadn’t woken up yet. His eyes were still tightly shut, yet his hand didn’t let go either. He seemed to be dreaming, muttering, “… Don’t… Don’t be angry…” Lan WangJi seemed somewhat surprised. His voice was gentle, “I am not angry.” Wei WuXian, “… Oh.” Hearing this, as though he finally felt assured, his fingers loosened. Lan WangJi sat beside Wei WuXian for a while. Seeing that he was motionless again, he was about to stand up when Wei WuXian grabbed him with his other hand, hugging his arm and refusing to let go. He shouted, “I’ll go with you, quick, take me back to your sect!” Chapter 63, EXR translation

Which, of course, is him dwelling on…

Lan WangJi spoke one word at a time, “Go back to Gusu with me.” Hearing this, both Wei WuXian and Jiang Cheng were surprised. Quickly afterward, Wei WuXian laughed, “Go back to Gusu with you? To the Cloud Recesses? Why go there?” He immediately seemed to realize, “Oh. I forgot. Your uncle Lan QiRen hates crooked people like me. You’re his proudest disciple, so of course you’re the same as him, haha. I refuse.” Chapter 62, EXR translation

…the painful flashback immediately preceding this. The third set of flashbacks (which are also painful) are a similar case. Look at the contex:

He lifted the bottom of his robe, revealing a prosthetic leg made of wood, “This leg of mine was destroyed by you, that night in the Nightless City (…)” (…) “Wei WuXian, I won’t ask you if you remember or not. Both of my parents died by your hands. You owe too many people. You definitely won’t remember them either. But, I, Fang MengChen, will never forget! And never forgive you!” (…) “In the fight at Qiongqi Path, my son was strangled to death by your dog Wen Ning!” “My shixiong died by poison, his entire body festering due to your cruel curse!” Chapter 68 (immediately preceding the flashbacks), EXR translation

And Wei Wuxian’s own thoughts and words:

Wei WuXian looked at the cultivators before the Demon-Slaughtering Cave. Their expressions were the absolute same as those of the cultivators from the night of the pledge conference, pouring their wine on the ground as they took the pledge to scatter the ashes of the Wen Sect’s remnants and him.  (…) Wei WuXian, “Now it’s time to ask just whom it is that treasures it so much. It’s like Wen Ning. Back then, some certain sects or so were scared to death of the Ghost General. They said they’d kill him on the surface, but behind their backs they hid him for over ten years. How strange. Who was the one that said his ashes had been scattered back then?” Chapter 79 (immediately succeeding the flashbacks), EXR translation 

Once again, Wei Wuxian’s own thoughts relate to the flashbacks we’ve just been shown. And, as I previously mentioned, though all the events which are shown are tragic, they’re also events which Wei Wuxian’s own choices and actions shaped – which he has this to say about:

“The things I did, not only do you remember them, I remember them too. You won’t forget them, and they’ll stay even longer in my mind!” Chapter 82, EXR

Admittedly, this applies more to the third set of flashbacks than the second (which is still fitting as the third set was the most recent), as in the second, although he still had agency within and influence over his circumstances, the majority of the pain was caused by others’ actions (excluding, of course, the Golden Core transfer… which is something we know stays for a long time in his mind, albeit with a caveat we’ll soon discuss). But it’s still important to note – especially considering that otherwise, focusing on this very painful time in his life wouldn’t seem like something very in-character for Wei Wuxian to do.

Of course, this can all just be explained by good writing. It is best to insert flashbacks when they’re relevant to the characters and events in the present day! But it is interesting to compare these to the start of the (not painful) Gusu flashbacks, which open this way:

At a later time, Wei WuXian pondered upon the reason why his relationship with Lan WangJi wasn’t good. Getting to the root of the matter, everything started when he was fifteen, coming to the GusuLan Sect with Jiang Cheng to study for three months. Chapter 13, EXR

Again, considering the circumstances around which these flashbacks take place – returning to the Cloud Recesses for the first time since the lectures, and meeting Lan Wangji once more – it makes complete sense for Wei Wuxian to be thinking about these events*. So it does fit the pattern of Wei Wuxian dwelling on something, thus leading to the narrative dwelling on it, too (and being shaped by his thoughts)… but there’s another layer to this. Importantly, it is the only flashback where Wei Wuxian’s present thoughts don’t lead to this happening, with his thoughts at an unspecified future time leading to it, instead. I like to interpret this as the text saying that, since these events aren’t something Wei Wuxian wouldn’t focus on in normal circumstances, he can dwell on them at any time. Therefore, they’re free to come up in the narrative at any time as well, even if he’s not dwelling on them in the present moment!

So, to summarise: Wei Wuxian’s decision not to focus on the painful times in his life directly influences the narrative to not focus on these times. When painful times are brought up and shown to us, it’s in the context of him thinking about them in the present day, and even then, his most painful moments still aren’t shown to us. His agency in this regard is still respected by the narrative structure.

This is the main way his agency influences the structure of the narrative, but I’d like to talk about the revealing and concealing of information, too. For example, I said I’d talk about the Golden Core transfer – though Wei Wuxian does think about this many times, as evidenced by his internal narration in Chapter 103. But unlike everything we’re shown through the flashbacks, this is something Wei Wuxian is actively trying to hide from others. And the narrative respects this choice (Wei Wuxian’s agency, again), never reveals it even when it would be relevant in the flashbacks, and we find out not through narration, but through a character’s dialogue!

And to clarify – I know these aspects may not be in the book for this exact reason. Showing flashbacks in relevant moments is good writing, concealing an important plot point you want to do a reveal for is necessary writing, and MXTX has said she didn’t want to write about Wei Wuxian’s time in the Burial Mounds, due to not liking to write transformation sequences (and also because it would not be pleasant at all, which likely also applies to Wei Wuxian’s death). That doesn’t prevent it from also being intentional – MXTX’s intelligence is shown in many aspects of this book, and there’s nothing disproving it – but there’s no proof for either option, so I won’t pretend there is. I bring this up because I know this feels like I’m overanalysing, as I feel that way as well.

But, whether it’s intentional or not, it exists in the text, and I adore it – so, regardless, it’s something I’ll explore. Because taking this into account… We aren't just told about Wei Wuxian having agency, we aren’t just shown it in the text, we aren’t even just shown it through which parts of his past are shown and hidden in the structure of the text (as I talked about in Part One). The parts of the past that are shown and hidden also have an in-universe reason for being shown and hidden, this reason being the choices he makes! Agency is the ability of a character to influence the story they’re in, but Wei Wuxian’s agency, as a property of a character who only exists in-universe, shapes the out-of-universe structure as well! That’s how we’re shown its importance! How cool is that?

At The End Of The Road: Summary and Final Thoughts

In this essay, we’ve covered how important Wei Wuxian’s agency is not only to the events of the plot, but to the structure of the narrative as well. The narrative omits periods in which Wei Wuxian has little or no agency, in favour of showing us periods in which he does, even when important events happened in the former. This indicates that who Wei Wuxian is without agency isn’t important enough to be shown to the audience, and therefore that his agency is an integral aspect of his character in MDZS. We’ve discussed how both in-universe and out-of-universe, tragedy does not define him – out-of-universe, the tragic events in Wei Wuxian’s life are used not to build sympathy but rather to show his strength of character and who he still is despite going through them; and in-universe, he chooses not to focus on the negativity and resentment caused by his circumstances or others’ actions, instead staying true to his moral compass and enjoying his life in the present day. Finally, we’ve also explored how this choice is another reason for the omission of certain events from the narrative, resulting in his agency shaping the story in a very literal way – it affects the out-of-universe structure, as well.

It’s quite fitting, for a story whose essence is about defying a conventional narrative – that of righteous clans rising up and defeating a great evil – and about a character who defies many conventional narratives on his own – that of status defining how skilled you could be, that for a golden core being necessary for cultivation and other paths being unavailable, that of a tragic but complete story of someone killed for staying true to their moral code (instead, that character returns to life and has a happy ending) – to have its own narrative play a role in such an important and interesting way.

(Or, if an image would be preferable:)

Thank you for reading!

(Part One | Part Two | Full version on AO3)

--

*This strong relation to the present day circumstances is another reason I love the flashback placement so much (and why I think it’s such a loss both screen adaptions altered it so strongly)! 

[ddarker-dreams]

I ASPIRE TO WRITE LIKE YOUUUUU UGUGUHHHHGUGHHGHHGHGHHGGHHHHHH I CAN'T STOP DEVOURING YOUR WORKS PLEEEEASE HOW DO YOU WRITE SO ELOQUENTLY YET SO CHARISMATICALLY?? PLEASE SHARE YOUR WISDOM, GREAT ONE!!😭🙏

PLSSSSSSS thank you so much,, i feel undeserving of such high praise 🥺 ...

i'm not entirely sure how my writing style came to be hjiegrjw lots of practice, i guess?? i consider what i want to get across in any story, whether it's a snippet or full-fledged series, then work around that. all that experience has made me familiar with my most effective storytelling methods.

my writing process basically looks like this:

initial idea

brainstorming about the idea (what are the character's positions? if they're at conflict, how do they express it? what's their body language, their word choice? etc etc)

open the accursed google docs and either:

(a) start at the beginning of the story, specifically what context the reader needs and drawing them into the Vibe. also equally important is knowing what information not to provide the reader, so they're left wanting to unravel what is going on.

(b) start smack dab in the action. structure comes later. lean into the excitement of the cool idea. context be damned, go ham.

in both cases, when i feel like i'm getting stuck, i come back to it later if it feels like it's grinding the entire process to a halt. i'll underline the segment, write a description of what it is i'm going for, then keep chugging along.

🚄 continue chugging until i can't anymore. exit google doc.

daydream about the story literally nonstop until i can work on it again, looking at things with a fresh lens in the days that follow the initial draft.

i make a few copies of the draft and try out different ideas, scrapping and adding as i go.

(here's an example of what this looks like, chap 4 and 5 of nexus had multiple versions with differences throughout until i landed on something i liked)

reread 458729x times and nitpick over smaller things like word choice, clean up dialogue to make it more fitting to the character

pray

huh . this is actually more convoluted than i thought. i'm not entirely sure if this will be helpful or not, messy as it is... but it is an unfiltered look into whatever tf my process is.

[blorbologist]

look, ima just say that yes, the cast understands their characters best - but they are not writers, and might not know how to best get those traits across to their audience.

My brother is like, the ideal target audience for a new fan. Big nerd into anime and mature animation already, a fan of several of the VAs and has a smattering of D&D experience. He absolutely loved seasons 1 and 2! In fact, his favorite characters in s1 were Grog and Keyleth, and I believe that held true in s2 as well.

While live chatting to me watching s3, he was so frustrated by how stupid and childish she was acting. He's completely naïve to C1 (but has endured some C2 when my dad and I would watch together). Without me to explain the complexity and depth of her in the campaign, he's gone from absolutely loving a character to loathing her appearance on screen because the writing did her so dirty in ways that are, frankly, easy to spot and easy to fix. Telling him how Keyleth was in the campaign was heartbreaking - he found it so cool! That was the character he found so interesting!

But whoever she was, she wasn't apparent in s3 Keyleth.

He also called Raishan 'the worst schemer (archetype)' he' ever seen, and enjoyed bitching about episode 10 with me more than he did watching it, soo...

I use Keyleth as an example because she' the most relevant one, as a favorite of my brother’s and having been done so dirty this season. But it applied to... a lot. From the friendships to the character choices to just the whole structure of season 3.

It's one thing to know Keyleth is strong, and angry, and feels responsible for her people, and doesn't trust Raishan. It's another thing to communicate that effectively - and this goes for everything and everyone else this season too. You just hear more vocal complaints from fans who know the show because they have, right there, a blueprint for how these inner conflicts and personalities were shown very well, and so have easy examples for how it could have been done better.

But hey, how dare we engage with s3 as a work of art on par with s1-2 instead of turning our brains off, right? The campaign will always be there - as a reminder that this season definitely lost new fans and those that stay will walk away with carricatures of the characters compared to what they were in s1-2. Look - genuinely beautiful battle sequence! 😍 I have no concept of storytelling or writing and clap in delight at the third Ripley fight of the season! Wahoo!

(Ignore that all that gorgeous animation and score were not enough to keep my brother invested when he, a member of the target demographic, started getting annoyed by the writing. Nothing is worse for art than being annoying.)

[brucewaynehater101]

I was wondering what Tim's racial traits are? Because I know that Bruce is Jewish, Dick is Romani, Jason is possibly Latino (I don't know if it's canon but his own traits wouldn't change because Latinos are very diverse, some may be white… The Latina who lives in Latam speaks uwu) , Cass is Asian, I think Chinese?, Babs is possibly white, Duke is Afro-American, Alfred is obviously British, Steph is white and Damian is mixed Arab-Jewish.

This is because I have seen him portrayed as white, Jewish or Asian, specifically Chinese, Japanese or Cambodian. I also love the possibility that the Batfam is a target of the Pro American (Damian would be a frequent victim) and Neo Nazis (Here they put everyone in the bag , even Tim if he were a white man the Nazis also persecuted homosexuals) and I feel that it would be something that would unite them as a family because it would be them against the world sjfshsaj and DC is a coward, possibly they put those things. and i lov your work uwu

Hello! I've seen a ton of cool AUs that portray him (and more specifically his mom) from different backgrounds, but I believe he is canonically white.

For Tim, I've seen some posts mentioning that some comic book creator was going to make him Jewish. They never quite added that into canon (his dad is atheist and his mom is implied to be Catholic), but that might be another reason why he's been portrayed as Jewish or other cultural backgrounds in AUs. Personally, it's rad to see how his storyline, characterization, or choices may or may not change or be affected by changing his upbringing, cultural background, or race. I've seen some cool AUs with Red Room or Russian decent Tim Drake.

I'm honestly not positive on Jason. I don't think DC quite confirmed a specific ethnicity for him, but he's implied to be white. I was trying to find anything that mentioned it, and someone talked about how, when he was researching who his bio mom is, he seriously considered Lady Shiva. This could indicate that he's racially ambiguous.

I personally hc him to be a third or fourth generation immigrant on his dad's side. This, in the hc, could be examined for how his dad may face social and structural barriers to obtaining work. Combined with his dad becoming a father at a young age (anywhere from 18 to 23), Willis was forced to find illegal work just to pay his bills for his family. At least, that's my hc if we're going with a good parent Willis.

You are correct that the Waynes, due to their mixed backgrounds, may face hate or be targeted by hate groups. Barbara may also be included with this due to her visible disability (I hc that some of the Waynes have, at the very least, some invisible disabilities). If we're going strictly off of canonically proven backgrounds/traits, Tim would face hate for being openly bisexual.

I am not aware of any hate groups residing within Gotham. I could 100% be wrong about that. There is the possibility of eugenicists, anti-meta groups, and supremacists (especially in positions of power) existing in Gotham. On the other hand, some of the Rogues would probably decimate those groups if they tried to root themselves in Gotham. That city is chaotic, but I love the hc that the Bats and some rogues (like Harley, Riddler, and Ivy) protect Pride events and other such gatherings. I find it more healing to think about the Rogues, despite being mass murders, drawing the line at being a bigot.

I've seen some fics that chat about the Waynes coming to Damian's defense when he's being racially targeted at school or galas. I haven't seen any for the Waynes as a whole being targeted by hate groups, but that is a possibility to explore. At the very least, there may be some awful shit online that Barbara stumbles across (even if the users aren't based in Gotham due to the Waynes being famous).

I'm glad that you enjoy my work! Stay safe, everyone, and fuck the pieces of shits that hate folks for being themselves.

[akookminsupporter]

Namjoon gave a good interview to Vogue Spain and in it he said a few things that I thought I'd share with those of you who may not understand Spanish.

This was at the end of the article but I want to write it first:

One thing that needs to be made clear about this album is that, no matter how much the rumour mill is trying to spin it, it is by no means the end of the successful band. "Oh, I'm not leaving BTS. Absolutely not. This is the first time I'm launching a solo project like this, so I'm trying to stand up and take my first steps. But I'm ambitious and I have willpower. So I don't want to miss the opportunity to do both. So I will try my best not to lose control and steer these two ships at the same time. A lot of bands split up and fall apart, but I hope that doesn't happen to BTS. I just love the music, I love my job, I love the band members and I love myself. If I can keep both projects going, I think it can be something legendary in the long run".

Other important parts of the article:

"The k-pop industry hasn't stopped growing since we debuted with BTS [in 2013]. It's become a lot more complex and has brought a lot more people into its structures. I think there are a lot of lights, but also some slippery shadows. Many of us started our careers very early as a group: we slept and lived together as teenagers. We became a real family, which is great, but this culture has also affected me a lot, because sometimes I find it difficult to be treated as an adult who has autonomy in his decisions. I'm perceived as just another cog in the crew, in the context of a mass phenomenon",

Did you ever feel like you were getting completely lost in this delirium of success? "I used to think so, but the funny thing is that I am fully aware that it was my own choice to devote myself to the k-pop industry. Nobody pushed me into it. But yes, I have lost myself at times. Although perhaps saying this is an excess of 'self-empathy'. There is no answer. Except that, if k-pop is about recharging the batteries of a mass audience and I'm responsible for doing that recharging, then I have to keep my feet firmly on the ground. As an adult, as a musician and as a human being. And these ten years of my career have helped me define who I am and learn to love myself. But I'm still in that process, you know? All these internal struggles will be recorded on records and videos," he explains.

"Music is really necessary for the world, but, when it comes to my music, sometimes I feel like I'm producing something unnecessary. If I were to die tonight, I don't think anything would change. It might matter to some people for a while, but a farmer or a street sweeper is more relevant to the functioning of society. When I ask myself about the role of our generation in historical terms, when I look at all the digital platforms and communities out there, I am overcome with confusion. There are a lot of people who don't want to think. They have frenetic lives and turn to music or television to escape, so the last thing they want is someone trying to lecture them from a pedestal. In that context, I wonder how I can make my music matter. I haven't found an answer yet, but I keep trying to bring my own perspective to it.

As to whether he is afraid that the army he has on Instagram (42.4 million followers) might one day turn against him for a silly mistake or a blunder, RM answers bluntly. "Yes, it scares me. It scares me 24 hours a day, 7 days a week. When I was younger I tried to come across as a cool guy who doesn't give a shit what other people think, but I don't think that's right anymore. I care about the publicity dimension of my career and the influence I can have on others. It stresses me out, yes, but I think I can handle it. That's why I don't retire or do things like go out and drink the night away and then drive drunk. I'm human, I can make mistakes, but I will do everything in my power to be the best version of myself. One of the keys is to treat this job for what it is: a job. I don't think artists have any special rights or status.

Note: if you would like me to translate another part of the interview, let me know.