#he knows he's in the narrative but he's got better things to worry about
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spotforme · 10 months ago
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i am facinated by this new Jonathan who has witnessed his boss's murderous tendences and secretive and imprisoning behavior but is completely done with his shit. like just a few dosen death threaths and torture from unworldly beings and Jonathan could not care less that his boss is in the room with them while they're planning his assasination.
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in-tua-deep · 11 months ago
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had some very plot-y dreams last night!
I was an alien who was disguised as a human. I think I had come to earth as some kind of invading force years and years ago - my lifespan was pretty long actually, so I was only about the equivalent of my early 20s still but I'd been on earth long enough that I looked more middle-aged.
Which was appropriate, because the reason I had bailed/was in hiding is because I had fallen in love with my beautiful wife. She had died, so I was raising our half-alien son by myself and was probably the definition of Overprotective Parent
I never saw what I looked like, but there was a point in the dream where my son was in his alien form. It was actually very beautiful - he looked like he was made of colorful gemstones or glass rather than flesh and blood
But the whole dream's plot hinged on me finding what was apparently some kind of like, alien rehabilitation program where they took someone and made them human and made them experience life as a human as some kind of penance/rehab?
And there was a dude who I recognized as like. a Big Bad species, that I was CONVINCED had a) no ability to feel remorse, b) would indiscriminately kill everyone, and c) was very very dangerous and also in the same town as my son
so I started like, hanging around?? To try and catch this dude being Evil and also making sure everyone was staying The Fuck Away from my kid, right? except this dude just kind of. didn't do anything evil. stone cold poker face and no showing emotions, but no like, killing or anything
at some point into this dream, we find out about a bomb that is under the chair of one of the group, which consists of me, This Guy, and some squishy humans. My goal is to make sure that if the bomb goes off, it goes off with the other alien bc his species is very invulnerable to things like that
long story short, I ended up with the bomb and driving away and got. really really hurt. and the evil alien? he ran over, covered my wounded body with his own, and someone transferred half of my wounds to him and in doing so he saved my life
so... not as evil (or as emotionless) as I thought, clearly
The rest is fuzzy, but I know I let him see that I had a son at one point, though I didn't directly introduce them.
Honestly the whole dream kind of felt like it had a vague enemies to friends to lovers plot going on as we both explored more of his background and history and emotions, and as we revealed the fact that I had once been kind of a bad guy honestly before falling in love with my wife.
something something, second chances
then i had an entirely different dream where I was a princess who accidentally defeated a dragon and bound him to me in human form lol
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togglesbloggle · 3 months ago
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My boyfriend has really vivid, elaborate dreams. He’ll often wake up and talk about some grand narrative- travel, exploration, politics, performances. I’ve always been a little jealous, he can hold really good plots together for them sometimes.
But anyway, this does have a downside; vivid, elaborate dreams make for vivid, elaborate nightmares. I can usually tell when it’s one of those nights, since he grinds his teeth pretty badly.
I was never quite sure what to do when I knew he was having a bad time of it, though the grinding alone was enough to worry me and push me towards intervening. I used to just shake him gently, hope to rouse him just enough to reset the dream or something, but it wasn’t too effective and anyway waking him up all the time isn’t good for rest.
I’m rather proud of the strategy I eventually settled on: gently, so as not to wake him up, I’d lay one arm across his hands, wrapping his fingers around me so that he was holding on. Nightmares being nightmares, I can usually count on a pretty tight grip when this happens.
It may seem a little odd, but consider that holding on to something with both hands is typically a very agentic frame of mind. We hold on to things that give us power, in one way or another, and possessing objects often makes us feel powerful in some respects. That has consequences, even for a dreaming mind.
I knew it was working when he woke up rather mystified from one such dream, and told me that he’d been running through the caverns of some dungeon or cave system, pursued by monsters, but then all of a sudden he was holding a giant anime sword and fought them off instead. So I got to be a sword for him that night, I was delighted.
I don’t usually get to know exactly what happened, since even for a very vivid dreamer like Ritter, nine tenths of these things get forgotten. But I know I’ve been things like door handles, steering wheels, stuff like that. And even when I don’t know what I am to him, he doesn’t grind his teeth nearly as much- the sleep is deeper and more peaceful, so I get plenty of feedback that it’s working.
It’s such a perfect encapsulation of love in microcosm, isn’t it? No matter how much you mean to them, and how much they mean to you, the gap between two conscious lives is fundamentally separating you. But fundamental does not mean insurmountable. There’s this whole world in him, full of dreams and perspectives that I’ll never truly experience. But I will be a part of those worlds all the same, finding little ways here and there to make sure that the dreams of me make him a better, stronger, and happier person.
Or at least, so one hopes. It’s a difficult challenge, and things often go awry. But usually you get at least a little lucky.
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honey-doc · 9 months ago
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Why I appreciate Kabru and Mithrun's relationship in the story (with pictures!)
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I just want to express how much I loved reading through the chapter with the 6 days they spent together and how I think their relationship developed in a pretty sweet way.
I feel like a lot of people reduce their dynamic to "nurse and patient" and that makes me sad because I personally got a lot more from it than that.
I do wanna start off by saying I'm here appreciating their dynamic as it is in the text.
Read more (spoilers ofc):
The beginnings
When they first met, there was an air of intimidation surrounding Mithrun as the captain of the ominous Canaries. He demonstrates his proficiency as a fighter and leader which worried Kabru because he knew it would lead to the dungeon falling into elven hands once again. But this threatening aura begins to dim in Kabru's mind as they get to know each other.
Even before they fell down the hole, the both of them ended up relying on each other's abilities a number of times (when the underground governor turned out to be corrupted Mithrun defeated him and Mithrun needed Kabru's deduction skills during the battle on the first floor) which is already the beginning of a great dynamic
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(Kabwu is scared but Mithrun just asks for his help)
After Cithis tasked him with "taking care of Mithrun's needs" for the time being, Kabru treated Mithrun with proper respect and doesn't take advantage of his disability, even using his title “Captain” when he knew Mithrun wouldn’t have cared either way after learning about how he lost his desires. This is in contrast to Cithis who immediately took advantage of her position to mess around with Mithrun when she was taking care of him.
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(When Cithis was put in charge of taking care of Mithrun)
The whole time Kabru is with Mithrun, he treats him like a person and more than just someone to be taken care of, as also he relies on Mithrun's fighting skills, knowledge of the dungeon, and teleportation magic.
When you reduce their dynamic to just "caretaker and patient", you're ignoring Mithrun's own capabilities and making him seem totally helpless. It actually feels rather ableist. They have a more balanced relationship with what Mithrun brings to the table than you may think. Mithrun couldn't have survived down there on his own, but it's the same for Kabru (who famously dies every time he fights)!
Kabru doesn’t show signs of trying to manipulate Mithrun either, and he's no longer intimidated by him in the slightest once he learns he’s not a threat or after his life. Though he does instinctively revert to his "sparkly" persona to get Mithrun to eat the disgusting mushroom, it doesn’t work so Kabru just has him eat it normally and never tries it again. This is the beginning of Mithrun unintentionally encouraging Kabru to be more honest with others.
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(Kabru realizing he can chill out)
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(Kabru being unreserved and Mithrun being silly)
bonus funny moment:
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Bonding
Throughout the journey they talked to each other, shared things with each other, and ate with each other. And Kabru expresses genuine concern about whether Mithrun is comfortable (which is something he could live without and wasn't something the Canaries told him to do).
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(Kabru showing he wants to make him comfortable by making food for him which is a very important part of the narrative)
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(Kabru sharing intimate memories with Mithrun)
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(Kabru initiating conversation without hesitation or worry. This part also is referencing how Mithrun shared very important details of his life with Kabru. Kabru also ends up trusting Mithrun with information about Laios despite knowing he could possibly tell the other Canaries about him and impede his plans..which he does lol they do end up knowing about Laios before meeting him.)
For a bonus Lycion implies Kabru was taking better care of Mithrun than they had been which is interesting to me.
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Mithrun also shows that he has come to trust Kabru's decisions over the Canaries' when he says he wants to stay in the dungeon after fulfilling the caretaker requirement. They did talk to each other a lot, during that time. I wonder what Mithrun's Shapeshifter double of Kabru would look like now?
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Here, Kabru goes out of his way to make sure Mithrun doesn’t overexert himself by knocking him out after the demon leaves with Marcille (again, when his time taking care of him is already over), and I think that demonstrates an extra level of concern he holds for Mithrun.
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(Kabru holding back a hellbent Mithrun)
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(KNOCKOUT!)
He even managed to make Mithrun mad. It's probably because he "let the demon get away" but I think it's cute and funny because would he huff like that at anyone else? Lol
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When the demon breaks through the surface
Kabru begins panicking after Laios turns into the giant monster because he's wondering if he made the right decisions etc. If Mithrun didn’t care about Kabru at least a little bit, he would’ve just left him alone when he started losing it (right after Marcille did the same thing and she is technically more to blame for empowering the demon than Kabru was for not allowing Mithrun to go after it), but he went out of his way to snap him out of it.
It also means a lot to me that Mithrun even says Kabru's name, because in Japanese you can go your entire life without referring to someone by name and it wouldn't sound wrong (just rude) and it's the first time Mithrun says Kabru's name on screen (I checked).
Though it was with a slap, I think it says a lot, because if Mithrun didn’t care at all he wouldn’t have done anything and left him alone. It's not like Kabru could've done anything to stop the demon. He didn't even to tell him to do anything even though Kabru looked ready for an order.
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(To be honest I don't know exactly why Mithrun starts beating him up here but you can say it's another rare demonstration of emotion Kabru was able to evoke in him lol. Maybe it's payment for Kabru stopping him the first time. That can be interpreted as paying it back and/or paying it forward I think.)
The last few chapters
And in the end when Kabru’s motivating Mithrun to continue living his life, he speaks to him like they’re friends/have no rank between them despite using the Captain title for him the whole time. Even Lycion initially gets upset that he’s acting “too familiar” with Mithrun.
It feels like Mithrun changed so much in the short time he spent together with Kabru and before the final battle, and it’s thanks to Kabru that Mithrun finally starts to be able to move past his lingering obsession with the demon and begin to really heal.
This is despite the fact that he spent so much time with Milsril and the other elves who never managed to break through to him like that.
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(Before Kabru) (After Kabru)
And even after his role as Mithrun's caretaker was loong complete, he still shows concern for Mithrun and tells him to take a break when he's using up all his magic to slice the Falin meat (lmao).
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He didn't need to do that! But it shows how he at least slightly considers Mithrun some kind of friend.
It all culminates with Kabru helping Mithrun regain his wil to live and Mithrun confiding in Kabru. Their relationship is important. Kabru continuing to do things for Mithrun to me is more of a sign that he just plain cares about him. Isn't it normal when a friend needs medication for you to remind them to take it? I think it's like that.
Kabru is there with Mithrun when he comes out about his feelings of uselessness AND when Senshi helps him put a spin on the 'vegetable scraps' metaphor and he find meaning in his life again. He's the first one to see him cry :')
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Along with the fact that it feels like Mithrun is the first person we see Kabru doesn't feel the need to change his personality with or put on airs for since Mithrun doesn't need buttering up and he won't get offended if someone were to say something socially awkward, I think they made a pretty good team!
BUT ALSO the REAL reason I became endeared to them is cute shit like this:
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GOD I love them!!!!! There are so many funny sides to Mithrun Kabru was able to bring out, and really show his charm as a character. Mithrun also brings out the best in Kabru while Kabru’s the most genuine he’s been since his debut with Mithrun. We are able to see that he’s just a kind and caring person, rather than the shady obsessed guy most fans have come to believe him to be.
The true depths of their dynamic also grew on me over time :)
TLDR
All in all it’s so nice seeing how even though Mithrun is a really deadpan person, and Kabru is a really secretive and withheld person, they clearly seem to have developed some kind of bond while they traveled together and even changed each other to an extent.
Doesn't Kabru feel more honest near the end? Maybe it's because of how much he talked to and shared with Mithrun during those 6 days so candidly...because they taaaalked a looooot like wow.
They mean so goddamn much to me. I don’t need them to be in a romantic relationship but I do want them to be together forever :'))) or like at least hang out when they have off time since they're still in the same country lol. Praying for Kui to make another side comic of them some time (crying).
Thanks for reading if you made it this far, I mostly arranged this because it makes me sad to see people reduce their dynamic to only one singular aspect.
Anyways ya...love 'em (heart hands)
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starkeyslibrary · 2 months ago
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FALLING OUT OF FRAME | Part 1
pairing: you x drew starkey
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The sound of Drew’s laugh filled the cozy apartment as you scrolled through your phone, settling deeper into the plush couch. It was a laugh you’d heard a thousand times – warm, genuine and utterly infectious. You glanced up to see him standing in the kitchen, stirring pasta sauce in a hoodie that he’d stolen from your side of the closet weeks ago. The sigh made your heart swell.
“How’s it going?” you asked, setting your phone aside.
“Almost done,” Drew said, flashing you a grin over his shoulder. “Hope you’re ready to be impressed by my gourmet skills.”
You chuckled, pulling your knees to your chest. “If it’s anything like last time, I should probably have the takeout app ready.”
Drew pretended to be offended, clutching his chest dramatically. “That was one time! And in my defense, the oven was possessed.”
Moments like this had become your favorite part of life with Drew – quiet, intimate evenings that felt words away from the chaos of Hollywood. For all the glitz and glam of his career, Drew was just Drew with you.
As you watched him carefully plate the pasta, you couldn’t help but feel proud of everything he’d accomplished. His latest role in the Hellraiser reboot was shaping up to be a major career move. And while you knew the spotlights came with challenges, you’d always been his biggest cheerleader.
Later that night, as the two of you lounged on the couch, Drew’s phone buzzed on the coffee table. He glanced at the screen, then sighed.
“It’s my manager,” he said, sitting up. “Give me a sec?”
“Of course,” you said, reaching for the remote to find something to watch.
Drew stepped into the next room, his voice low but audible enough for snippets to carry over.
“…. Press tours…. Odessa …. Chemistry angle?”
You tried to focus on the TV, but your curiosity got the better of you. Odessa A’Zion – Drew’s new co-star. You’d seen her name pop up recently in articles about the movie, paired with glowing reviews of her talent and personality. She seemed nice enough in interviews – bold and charming in a way that made you feel a little plain by comparison.
“Everything okay?” you asked, placing a comforting hand on his arm.
“Yeah,” he said, but his tone wasn’t convincing. “Just.. movie stuff. Our team thinks Odessa and I need to lean into the whole co-star chemistry thing for the press.”
“Chemistry thing?” you echoed, your brow furrowing.
“It’s all PR,” Drew said quickly, his hands finding yours. “They’re talking about a few staged photo ops, maybe some friendly banter during interviews. You know how it goes.”
You nodded slowly, even as an uneasy feeling settled in your chest. You did know how it went – Hollywood loved its narratives, and the lines between fiction and reality often blurred.
“It’s nothing to worry about,” Drew added, his thumb brushing over your knuckles. “You’re the one I love, Y/N. Not Odessa. Never Odessa.”
You smiled softly, but the words didn’t erase the knot in your stomach.
The first set of paparazzi photos hit the internet like a wildfire: Drew and Odessa at a café, leaning across the table as if sharing a secret. Her laugh was captured mid-burst, her hand grazing his arm.
The headlines were just as dramatic as you’d feared: Drew Starkey and Odessa A ‘Zion’s Off-Screen Chemistry is Off the Charts!
You scrolled through the photos on your phone, bile rising in your throat. They were clearly staged, every angle too perfect to be a coincidence. But that didn’t make it easier to stomach.
The worst part was the comments. Fans fawned over the “new power couple”, dissecting every detail of their interactions. People who had once rooted for you and Drew now seemed eager to erase you from the narrative entirely.
When Drew came home that night, you tried to play it cool, but your unease must’ve shown.
“Hey” he said, dropping his bag by the door and crossing the room to kiss your forehead. “You okay?”
“Mmm, fine” you said, forcing a smile.
Drew studied you for a moment before glancing at your phone. His face fell as he recognized the photos.
“Y/N, I –“
“It’s okay,” you interrupted, setting the phone aside. “I know it’s just PR. It’s your job.”
Drew sat beside you, his hands wrapping around yours. “It doesn’t mean anything,” he said firmly. “You’re the one I come home to. You’re the one I love.”
You wanted to believe him. But as Drew kissed your temple and pulled you into his arms, the unease lingered, whispering doubts you weren’t ready to face.
TAGLIST: @princesspeach124 @idiotussupremus @eitaababe @13tter @drewsephrry @drewstarkeyzwhore @cooper8224 @maybankslover @elyseesarchive @ietss @hoelesslyt @wtfdudesblog
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hitlikehammers · 1 month ago
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oh golden boy (don't act like you were kind)
part i : you were mine but—
for @kultiras at the ❄️ Winter @steddieexchange 🖤🩵
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Arguably the sharpest knife in his chest about this whole fucking shitshow?
Eddie thought they were doing good.
Like: so fucking good.
Eddie thought they were on the cusp of…that they were building something.
He’s such an idiot. Such a…
A heartsick fucking idiot.
But if he’s gracious—which he’s not, least of all to himself—when he puts all the pieces together, lines the evidence up and analyzes it, thinks of it in terms of a narrative that he can understand and recognize the flaws in, where he’d rewrite the ending or tweak the rising action so everything slides into place realistically, cause and effect in balance just right: Eddie can see that the way this has all shaken out is fucked up. So, so fucked up.
Because there honestly hadn’t been any signs that they weren’t laying the foundations of something long-term, something lasting; that they weren’t in this deep and rooted, strong and committed and serious in a real, tangible way, and, just…
Forever. Eddie was…he was playing for keeps, here. He thought, he just, he thought—
Fuck.
He just…really believed he wasn’t alone in it all.
Again: idiot.
It’d started so fucking predictably, really, because if there’s one thing that Eddie clocked about Steve Harrington from the get-go of actually getting to know him versus operating on the popular-gorgeous-jock framework he’d distilled the guy down to in his head before 1986: the one consistent thing he’d figured from what he’d heard and what he’d seen put together was that: Steve Harrington?
Bastard’s protective to a fucking fault.
So when he blinked back to the land of the living with Steve goddamn Harrington at his bedside? Standing guard, looking a little haggard—like he cared, at least enough to worry—but still fucking devastatingly pretty, good god-
When he woke up to that, Eddie was surprised and also: not at all surprised.
The way he lit up when he saw Eddie was conscious, like world was less before that moment and something right slid back into place? Eddie…Eddie felt like his body was pretty wholly broken but that fucking cracked something down his middle, decimated parts of him in new ways that hadn’t been already devastated on another plane, were sitting ripe for wholesale ruin.
He’d let Steve blame the breathiness that’d overcome him on coming back from the brink of death, because Steve didn’t need to know the sensations, the emotions, that were running riot through Eddie’s veins.
But then it hadn’t stopped.
Steve standing guard at his side became a constant, like Eddie couldn’t quite comprehend save that it felt like his body was knitting itself around the fact of this more-than-good dude and Eddie wasn’t entirely sure what to do with that, save kind of just…poke curiously at the new shape of everything he was for it, and once he worked through the fear of the unfamiliar in it?
To kinda…savor it. Roll around in it and relish.
Probably it was gonna be short lived anyway. Probably it was gonna go away when Eddie finally got out of here. Only made sense to soak it up while it lasted.
And it was one of those early days, where Eddie was soaking it up and before anything possible beyond the bubble of middle-space they were existing in inside Eddie’s hospital room was even hinted at. Steve had gone to check on Max while Eddie grappled a bit to look down at himself a little better under the handkerchief that the hospital deemed sufficient as clothing, and he braced for the worst because it felt like the worst and what he did remember at all from the scene of the inter-dimensional mauling definitely aligned with being ‘the worst’: but it was honestly mostly bandages and pain.
Eddie didn’t…on second thought he didn’t know if he was ready to see what was underneath just yet, so he was actually kinda grateful that his hubris about it all didn’t immediately have a chance to floor him, especially when he was alone because he’d thought it’d be easier to stomach if it was just him—but the prospect, the bullet dodged, lodged in his throat and proved him kinda instantly wrong for the sharp cut of bile rising in him, and the violent jump of his pulse right behind it.
His hand had gravitated to his chest, though, like he could keep his heart from cracking his ribs that way, and he noticed that…even the light pressure ached, so he looked down a little more carefully, didn’t think the little fuckers had concentrated their attacks on the center of his chest so he tucked his chin and tried to see what was causing the sting—maybe just like, general area tenderness after playing buffet table to fucking…flying hellspace rodents but—
No. No: even from this weird-ass uncomfortable angle, Eddie could see the outline, coukd make out the dark stain of a bruise.
In the shape of a hand.
And listen, Eddie wasn’t foolish. He knew that everyone busted ass to get him topside and to a hospital. And that probably involved…stuff he didn’t want to really dwell on too long in terms of the nitty-gritty of his own mortality. He was also very much aware that Steve had played a crucial role, even if the man himself didn’t stand up and declare it. The kids didn’t have any sense of a fucking filter, so.
Eddie knew.
But Eddie then started tracing the splay of fingers on his sternum, his heartbeat so fucking heavy under even just the brush of his nails as he followed the outline of the purpling over, and over, and over, imagined what it would take to make that kind of an impression on his skin because Eddie was fucking pale, yeah, he marked quick—but not that dark.
Not that deep.
“Shit.”
Eddie’d startled, snapped his attention to the doorway where Steve had reappeared, looking a little breathless as he took Eddie in, came quick to his side and leaned to look closer at the monitor next to him and oh: Eddie hadn’t realized that the beeping was so loud, so fast. Hadn’t realized his heartbeat had ratcheted up quite so high.
Not that he was surprised.
“Shit, are you okay,” Steve barely breathed, eyes so goddamn big about it as his hands had kinda hovered, as he’d tried to figure out what to do, how to help, because that was what he was always doing; that’s who he was to his core, and Eddie…
“Oh god, let me call the nu—”
“Don’t.”
Eddie’d half-moaned it, god: scratchy but desperate as he reached for Steve’s hand and he…
He suspected he knew exactly how big that hand was; what shape it’d make to a fucking T. But he needed to see
For sure.
“What are you,” Steve’s brow had furrowed in that way Eddie was becoming increasingly aware he wanted to kiss smooth, and he started to ask it as Eddie grabbed to uncurl his grip from the bar at the side of the bed but Steve gave up fighting quick, focused on stopping Eddie from moving at all instead, from stretching the way he was against the precarious threads holding him together as he reached for the neck of his gown again, still loose enough from where he’d pulled the back up, left his ass out against the sheets to bare his breastbone, the mess of the tattoos on his chest more grisly after everything than any horrors he’d gotten inked before but—
This was a different kind of horrifying thing. Not least—maybe most—because it was entirely possible that it was also the most beautiful, sacred thing to ever touch Eddie’s skin. To ever beat through Eddie’s fucking veins.
“You,” Eddie let go of the last breath he could wrestle out before his lungs seized up too tight, because then he was watching it happen, watching Steve’s broad palm as it hovered over the imprint, shivering when Steve’s warmth made contact: eclipsing the bruise near-perfect, just like Eddie knew deep down it fucking would.
His heart took the hint and started shivering under Steve’s hand immediately, like it had something to prove.
“Ed,” Steve’s voice was wispy, choked a little; eyes too bright and Eddie feels like there must be so many kinds of dying, because he’d felt one keenly under that angry red lightning; this was a wholly other thing.
But felt just as keenly life-or-death.
“You,” Eddie whispered, the words, the truth, the feeling of it all too fragile, too precious to disturb, and he wondered if his heart knew Steve had pushed the bruises down around it to save it, if that’s why it was so unbridled and unabashed in hammering against that touch, that touch—
“I think I heard you.”
And Steve? Big eyes framed with those feather lashes, stretched wide and all made of shine and earnest fucking feeling?
“You didn’t…want to lose me?” Eddie’s voice had been so small, so so small because he did think he’d heard that, and the wisps of recollection, of a frantic but resolute voice demanding of him: what he was able to collect and try to tie into a whole matched up when he paired it all with Steve in his head, but what if he was wrong?
What if it was all just fever dreams and wishful thinking on his deathbed, what if Steve had no investment in him beyond keeping the Party safe in its entirety, no exceptions; what if Eddie was fucking wrong and showed too much of his hand with this, with Steve’s palm pressed to his thrashing heart and—
Then Steve was brining his free hand to Eddie’s cheek, fucking…cradling it like it fucking meant something, like he could matter and—
“I couldn’t lose you.”
Oh.
“You,” and so many possible ways to end that thought had swam through Eddie’s head—you barely know me, you can’t possibly care if I live or die, I cannot matter one fucking bit in your universe, so why would it matter but Steve’s hand was warm under his, and Steve didn’t pull away, only leaned in, only stayed close enough that Eddie could feel his breath on his skin and Steve could chart the way Eddie’s heart took to pummelling his already-taxed ribs but it didn’t matter, it couldn’t matter because Steve held there, so careful of the pain but nothing short of steady, devoted, a soul-sworn guard of that heart under his hand like it did matter, like Eddie did…
Like Steve ever could—
“Stevie,” Eddie would probably have flushed if the situation had been anything but what it was. If his heart wasn’t racing into Steve’s touch at the chest and just under the jaw where Steve’s thumb pressed almost proprietary, almost like a shield but also like a welcome, like the idea of Eddie’s heart beating into him wasn’t a dealbreaker, and fuck, fuck—
“I don’t know what I’m doing,” Steve breathed out against him, prickling dangerous across his skin and Eddie’s heart leapt a little, fuck; more than a little and Steve felt it, front-row-center, couldn’t not feel it but he just leaned closer still, and Eddie was front-row himself to the catch in Steve’s inhale, undeniable and unapologetic as he murmured low, turning into Eddie’s cheek a little and Eddie maybe resented how it forced him to pull away,until his lips brushed the tip of Eddie’s jawbone and drew a whole ass shudder down his goddamn spine.
“Just know,” Steve gasped there, fucking…panted and hell if it didn’t catch in Eddie’s blood like pure bliss; “just know why.”
And fuck, but Eddie could only press in to the warmth of Steve’s lips where they moved for the words alone, let alone what words; what Eddie thought maybe they meant—
“Me too,” Eddie rasped a little, because fuck him, man; this was something…something else, swelling up in his chest so strong and Steve had to be able to feel it where he still held against him, palm to his galloping pulse at the source, feeling the life he coaxed back into the world.
“Does it have to make sense just yet?” Eddie asked, knew he sounded too hopeful, too desperate, more than he’d earned, than was safe but his heart kept knocking against that hand, so fucking insistent and who was he to deny it, to try and wrestle in into being less when he couldn’t even hide it, when it was evident to the man it was leaping at; for.
“I don’t think so,” Steve mouthed more than spoke where his lips dragged wet across the stubble on Eddie’s cheek.
“Then,” Eddie tipped his head, tried to catch Steve’s eyes, aimed to reason, to convince but the moment he moved, Steve dipped his chin just so to take Eddie’s lips, to kiss so hard, so complete with what felt like it couldn’t even be reasoned as less than all of him, because how could less than all feel like this—
Fucking impossible.
And Eddie couldn’t shy away��as Steve kissed him breathless, left him gasping; Eddie couldn’t shy away from the sense that he was being killed and revived all over again, endless and unbreaking, and it was perfection.
Jesus fuck.
And the kicker was that…weeks passed. A whole month, close to another. And if anything changed it was all for the better, for the more and Eddie wasn’t entirely sure what to do with it, if he was entirely honest. He…the bruise healed, y’know? That brand above his heart but—
He didn’t need it anymore. That was the thing. He didn’t need to see.
He was very fucking aware. Every minute of every day. He was…so aware. It could kill him better than those bats, it was so big and so much, and so quick, but with all that, probably because of all that: Eddie’d never felt anything even remotely like what it meant to shake off sleep and have Steve Harrington kiss you to wakefulness, to hold you for the nightmares as much as the news of small victories on the road to recovery: never wavering.
Never leaving.
When Eddie got the go-ahead to continue his rehab outpatient-style, his original conviction that all of this ended at the latest upon discharge was immediately challenged, because Steve had become so much more than he’d started as, but Eddie still worried. Made himself sick over it.
Felt like an indefensible monster as Steve rubbed his back, brought him soup, tended him like Eddie didn’t cause his own suffering, and all for the terror of losing the very man who was there, without question.
Then he signed himself out, and Steve drove him home.
Save that Eddie recognized where they were headed and…he only knew one person in Loch Nora.
“Your uncle’s still in the motel by the plant,” Steve had explained what Eddie already knew but hadn’t put together when Eddie raised an eyebrow in askance, wholly unsure how to process any of this, any of this; unsure how to hope in the face of what he was seeing, held against what he was wishing.
“Government’s being fucking assholes about setting you up with someplace appropriate,” and something in Steve’s tone had made plain that he was not just very clear on what constituted ‘appropriate’, he was probably actively involved somehow in holding the people in question rightly accountable for appropriate, and nothing less.
And Eddie…he did say he didn’t need a mark you could see on his heart, didn’t he.
“You need the room while you get better,” Steve murmured as he killed the engine, and lifted Eddie’s hand to his lips, pressed his mouth on the knuckles, nuzzling a little, eyes closed and Eddie…Eddie didn’t know what to do.
The only saving grace was that he didn’t have a monitor to rat his ass out when his heart started trying to escape orbit—fuck just his ribs, how pedestrian—this time.
They sat in a living room that looked like it was once absolutely pristine and still was, mostly, but up close Eddie could see little snags on the sofa, could feel the texture of the fabric different under his fingers for scrubbing out a stain. He suspected four infamously unmannered teenagers were the culprits. The remaining stiffness of the cushions was good for the way his body was still working through being gnawed apart, but he was gone far enough to kind of immediately hope he’d see how they wore with love and use and maybe something more once they got there, once Eddie’s body cooperated again, because he…Steve brought him home.
And maybe they didn’t have to stop when Eddie left the hospital. Maybe he didn’t have to lose.
He’d only made it shortly past the best fucking grilled cheese he’d maybe ever tasted, and he didn’t think it was only because it was his first meal without an aftertaste of sterile in too fucking long—but he only lasted a little more than an hour before Steve’d helped him to a guest room on the first floor that’d obviously been reworked for him, from the way he could reach the bed from just inside the door, to the fucking posters that he knew for a fact Steve wouldn’t have had on hand, and Eddie’d giggled a little wetly at the Ozzy one, because he figured the man steadying him at his side would never be anything but intertwined with the Prince of Darkness in his mind, now—but Steve, who’d more than proven he was so far beyond any kind of king, won hands down. By a landslide.
And who could have seen that coming?
“Careful,” Steve chided him gently as he guided Eddie slowly down to the mattress and made to tuck him in, and the word was so warm, so warm but Eddie had to…
He had to reach. Again. He needed Steve, he…needed.
The handprint on top of his heart didn’t need to be a thing he could see, but he needed Steve to…know some level of what he was feeling, of how much was inside him already, and growing, the momentum building and he didn’t want to feed it, didn’t want to let it run if he wasn’t going to have someone to catch it, to run with him but he also didn’t think there was any chance to stop it, now, he didn’t think he could trim it back or tame it from consuming him and he wasn’t sure he’d even want to if he actually had the power because it was the best feeling he’d ever known, even if it was terrifying, even if it could hurt him more than anything he’d ever known and—
“I don’t want to be alone,” was what spilled from his lips with Steve’s hand above his heartbeat as it pumped so goddamn hard it couldn’t be denied, it couldn’t be misconstrued, and he didn’t want to sleep alone, didn’t want to lose what he’d rebuilt himself around all these weeks, he—
“Good,” and Steve leaned down, cradled Eddie’s face and tipped him up to kiss him full, hard, one hand still on his chest because that was the mark, the promise, the fight for all that this was and all it could be like a fucking vow and Eddie melted for it on sight, on contact.
“Because I’m not leaving,” and Steve brushed the tip of his nose back and forth against Eddie’s, his smile like honey in his tone as he pecked Eddie on the lips one more time before stretching his hand to follow him across the bed, to crawl to the other side and slide in next to Eddie, to carefully arrange him against Steve’s body, to wrap around him with so much care, to touch nothing too tender and everything safe to hold as Steve tucked his face against Eddie’s neck and kissed behind his ear as he breathed:
“Never gonna leave you all alone again.”
And Eddie believed him.
Eddie believed him.
And when, weeks later when Eddie was hurting less and moving more, perched in the corner of the couch that was starting to give a little under persistent weight, starting to feel like it was meant to be used and lend comfort; as Eddie was poking at campaign notes for the gremlins, pen caught between his teeth, he only paused when he felt the gravity of a familiar gaze settle on him—not immediately, because he liked just existing in it, feeling its heft, but after enough moments to satisfy him he looked up, met those eyes and felt them in his goddamn soul as he asked:
“What?”
And Steve had just kept on staring, the bare hint of a quirk at the corners of his lips spreading to the full sunrise of his smile.
“You fit, here,” and he’d said it so simply, so…much like a truth, a fact of the universe—Eddie Munson fits, belongs in this place, this space, this home, this life—and then the smile dimmed ever so slightly, cloud cover across the shine as Steve shifted a little, crossed his arms loose but still as a barrier over his chest: “if you want to, I mean—”
And Eddie sat up straighter, and he reached both his hands out to Steve because:
“I want to,” it was all he wanted, really; it wasso far beyond his wildest dreams but it was real, Eddie could see and touch it, taste it, feel it through his blood when it pumped, tracking through his whole body, filling up his heart overfull and magnificent and he as just…
“Sweetheart,” he took Steve’s hands and tugged him down to sit next to Eddie, settled him so close; “I’ve never wanted anything as much as I want that.”
He leaned back, wholly prone and never once letting go of Steve’s hands, never once doing anything but keeping them laced together and anchored, locked tight and Steve matched him, followed him as Eddie drew him to his healed-enough chest to settle right at the center, to hear Eddie’s heartbeat for the declaration it was, it already was in its entirety:
“You fit here.”
And he did. They both did. Their worlds had shifted, grew around the shapes they made together and after not-long-at-all, they fit so fucking well that it was bespoke to their cells, they’d never fit anyone else. It was quick and it was heady and it was fucking right.
For months
And then it all went to shit.
Because Steve decided what should have been expected, honestly—that Eddie wasn’t worth the hassle, that he wasn’t right for Steve, that Steve’s staggeringly-expansive capacity for love was wasted to hell on this low-life dipshit who couldn’t even graduate on his third try at high school, who maybe didn’t have a murder charge anymore in the legal system but would never wash it clean from the court of public opinion, who was…trouble. Always trouble.
Not fucking worth it.
It’s just…Eddie never thought Steve would stop wanting him. He maybe went in reticent at first, but Steve had loved so hard out the gate that as soon as he knew he was allowed, and welcome? Eddie didn’t hesitate to meet that love beat for beat.
He just never imagined his love would ever be unwelcome; that that's how his heart would break.
What breaks in the moment, though—the heartbreak is constant, and unfortunately proving to be kinda fucking unending, really—but what breaks now is…possibly the handle on the front door for the way someone’s banging and jiggling it back and forth like the first time it didn’t give against the lock was just a fluke.
He frowns, considers waiting out whoever’s enough of a dick to knock like that but apparently not so witch-hunty to throw a brick through the window—which: Eddie will take progress, he guesses—but when a concerning creak sounds from near the hinges, Eddie thinks of Wayne, and how his uncle doesn’t deserve a broken front door, so.
Heartbroken or not, Eddie has to drag himself to deal with…this.
Then he’s throwing the door open and…this is—
“We need to talk.”
This should have been expected. There’s really only one little asshole who’d assault his door with that much…determination.
“Henderson—” Eddie huffs, because he knows he needs to set a date for them all to get together, he left the campaign they were in kinda dangling on a thread when he didn’t hold the gatherings at St—
Well, when their regularly scheduled venue became too much for Eddie’s heart to handle.
Which: okay, fine, he gets it but like, he can’t care as much as he maybe should when he feels like this, and the kids need to fucking take a chill pill and if they can’t understand, then at least they can just shut the fuck up for at a couple more weeks while Eddie licks his wounds and sees if they decide to finally scab over enough that he doesn’t keep with busting them back open every time he breathes—
“About Steve.”
Eddie’s heart shudders just to hear the name. He’s avoided hearing it for weeks, now; it hurts too much.
He hears it enough in his own head, in his dreams, in his nightmares when he see the worst, in the cadence of his fucking pulse because his heart doesn’t know how not to be Steve’s, kinda feels like it’s not interested in learning, will never be anything other than what it is now, forever, and—
“We need to talk about what you did to Steve.”
Wait.
Wait, what he did to—
What?
❄️
>>> part ii
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for @kultiras🖤
✨permanent tag list: OPEN (lmk if you want to be added/removed): @pearynice @hbyrde36 @slashify @finntheehumaneater @wxrmland @dreamwatch @perseus-notjackson @estrellami-1 @bookworm0690 @imhereforthelolzdontyellatme @nerdyglassescheeseychick @swimmingbirdrunningrock @goodolefashionedloverboi @sanctumdemunson @theheadlessphilosopher @sadisticaltarts @bumblebeecuttlefishes @shrimply-a-menace @wheneverfeasible @1-tehe-1 @themoonagainstmers @dreamercec @ravenfrog @live-laugh-love-dietrich @stealthysteveharrington @tinyplanet95 @theohohmoment @samsoble @tinyloonyteacups @askitwithflours @awkwardgravity1 @pretend-theres-a-name-here @dragoon-ze-great
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sliding-down-rainbows · 1 month ago
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My thoughts on Striker as a PERFECT narrative foil for Blitzo
I've been watching a lot of reactions and reading through theories about HB given the new ep.
One thing I keep seeing is this surprise that Striker would work with the Nobles against Blitzo, considering how outspoken he was about hating royals.
To me, this makes perfect sense and I think they established this for the character early on. Striker hates Blitzo because Blitzo is exactly who Striker THOUGHT he was, and who he claims to be.
The thing is with Striker, I think a review I just watched of tbskyen got it spot on during his first appearance in Harvest Festival. "He doesn't seem to articulate an argument against the hierarchy so much as an argument against his place in it."
Striker, as much as he wants to be seen as a class hero, looks down on other imps and hellhounds, and his resentment is the HE should be above them. He says so to Blitzo.
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"Blitzo, c'mon. You know the two of us are superior than most of our kind."
And he REPEATEDLY belittles other imps
"Don't worry, little one. You never stood a chance."
"Plus, you little things ain't worth the cleanup." ―Striker before locking Millie and Moxxie in the cellar
"I still think it’s embarrassing. You’re wasting a lot of potential relying on a weak little-" ―Striker about Moxxie
Calling Fizz a "worthless little pet"
I think I still missed some but you get the idea.
Striker think he and Blitzo are better than other imps, and don;t deserve to be subservient.
But here's the funny thing, BLITZO is the one who started and runs his own business, who became his own boss. And he uses that position to actually pull up other imps and hellhounds. Blitzo, for all of his jokes, fucking respects Moxxie's skill, he doesn't let anyone treat Loona like his pet. He uses his position as being seen as stronger than other imps to help others see their own worth. When Millie was speaking bad about herself:
Millie: We don't deserve this. We're just Wrathians, Blitzo. Muscle. It's all we're good for, all I'm good for. It's why you hired me. Any demon good at making a buck is welcome in Lust or Greed, but here? Demons like us ain't cut out for this. - Ghostfuckers flashback
And Blitzo's response?:
(Long paragraph of encouragment I won't copy all of... The point is, if we can't make it here then- then no one deserves to, right?
Blitzo saved them all from their lowest point and showed them their worth, that they deserve as much respect as anyone else.
And Striker, for all his fucking posturing, is working FOR a Goetia. So you have this guy, who thinks he's some class hero, better than other imps, but is stuck working for royalty. And along swings Blitzo, who is his own boss, and is just as strong if not stronger than him. Blitzo is EVERYTHING Striker wishes he was.
So then we come to Mastermind. Given the chance, Striker fucks over his own race/class in favour of royalty who probably offered a bribe. Blitzo, even to the very end, speaks of imps as a whole being mistreated.
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No fucking wonder he became a class hero.
Striker has his "values" so long as they serve him directly, if he can get to the top of the food chain he'll make no effort to dismantle it or help bring anyone else up.
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luveline · 1 year ago
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idk if this is interesting enough for a prompt, but stripper! reader (w/ either aaron or spencer, your choice :) ) where they get worried because they see her with large bruise on her side but really she just got it from a hard fall practicing a pole trick lol
ty for requesting! I thought it was more than interesting my love, 1.1k
cw past implied domestic/workplace violence
"Can I make a cup of tea or something?" 
Spencer lifts his chin before his gaze, hanging onto the line he's reading until he's finished somewhere manageable. Finally looking up, he says, "Sorry, what?" 
"Can I make some tea? Do you have anything like that? Or coffee?" you ask. 
He almost slips standing up. "I'll make you tea." 
"No, I can make it, you're reading. I just wanted to ask before I went rooting through your stuff." 
Spencer's smile is shiny, pretty, all manner of things. It says Don't be silly. "You don't have to ask, help yourself." He nudges you in your bad side. "Of course you can have tea. I'll make it." 
You wince at his contact but follow him into the kitchen without complaining. You're sick of your own narrative —yes, you're a stripper, yes, it's hard work, and you know these things but you're tired of having it be the constant identifier of your life. You really wish work stayed at work, but the half metre contusion spread up your ribs like a formidable stain won't go away. You want something warm to wash down a few painkillers and hopefully you'll fall asleep on his couch. Spencer doesn't make you go home when it gets late and you hate asking him if you can stay. Easier to knock out on his couch and have him throw a blanket over you. 
His mind must have drifted to the same place. "Did you wanna stay the night? It's getting kind of late." He opens the kitchen cabinet above the toaster oven for two mugs, and the cabinet below the sink for his stove top kettle. He peeks at you from over his shoulder when you fail to answer. "Or I can drive you home?" 
"I'll stay. Better chance of survival." 
He does that adorable nose-wrinkled frown. "I'm not a bad driver." 
"Do you have any of my cookies left?" 
You wouldn't usually ask, but you paid for them last time you came over, so you figure it's okay. 
"Sure, they're in the cabinet by the bread bin," he says, moving to the sink to fill the kettle with tap water. His face flicks between you and the task at hand. 
You open the cabinet above the bread bin, double doors creaking on their hinges. Your cookies are in a tupperware container on the very top shelf at the back. He'd probably tell you something about mould or weevils if you asked why they're up out of reach, but you're more focused on getting a sweet treat than anything. You'll ask later. You can listen to him talking until you fall asleep. 
"What is that?" 
"What's what?" you ask, though any further questioning is interrupted by your yelp, a cold hand touching your naked stomach as you set back down on your heels. 
"What happened?" Spencer asks, your shirt held by his pinky finger as his thumb moves over the bruise. It's like he's hoping it's make up to be rubbed away, and he's horrified when it stays undisturbed by his gentle touch. "Who did this? I swear, I'll–" 
"Your hands are cold," you interrupt, taking his hand in yours, peeling it off of your stomach. "And it's kind of tender, Spence." 
"What happened?" 
His tone leaves no room for jogging around. You're not reluctant to tell him for whatever reason he might assume… You and Spencer used to live very close to one another, and you'd see him at the local grocery store, a small place, without saying much. He'd smile at you. Occasionally say hi. Until one day your eye was swollen shut from the force of a cruel hand and he asked if there was anything he could do. So Spencer knows intimately how people have managed to hurt you, and he worries because it's his nature to worry. 
You'll have to tell him what happened, even if it's embarrassing, in order to wipe the concern off of his delicate features. He's angry and scared and sorry, and he has no reason to be any of those things. 
"I– okay, I wanted to practise this twist thing that Stassia showed me," you begin, meeting his eyes with bashful reproach, "you don't have to be so worried. I was practising, or trying to, but it gets cold in the private room and I was shivering and my hands were aching, so I thought I could put on my sweatpants and try again but, you know, you need the–" 
"Friction," he interrupts, looking down at your bruise with a rather ironic smile. "You fell off of the pole?" 
"Yes, and you don't have to sound so happy about it." 
"I'm not," he says, rubbing at the sore fat of your hip apologetically. "I'm glad it wasn't, you know, what I thought it was, but– I mean– how hard did you fall?" 
"I thought I broke my ribs." 
He laughs. It's as soft as his touch. "I bet you did…" 
"Any more touching and I'll think you want to tip me." 
Spencer laughs and winces simultaneously, dropping your shirt back into place and neatening the hem "Right, sorry." He steps back half a step before stepping forward again, his arms quick to wrap around you in a sweeping but brief hug. "Thanks for telling me." 
"Super sarcastic, Dr. Reid." 
He peels away from you to light the stove unsuccessfully. Your side is throbbing at being remembered, your head with embarrassment, and that cup of tea just isn't coming quick enough. The phantom of his fingerprints linger.
You follow Spencer to the stove and push your hip into his, pushing the stove top knob in with the sparker until it catches. 
"Don't make a joke about my hands." 
"I wasn't going to," he says earnestly. The back of his knuckles touch your elbow. "You could tell me the next time you do something like that. You should. I want to know if you have a bruise the size of a watermelon." 
"If I told you every time something was wrong with me we'd always be talking about what's wrong with me," you say, though you press your cheek to his shoulder appreciatively. 
"Good," he says simply. 
"Good," you repeat, surprised. 
You stay like that until the kettle whines, your cheek on his shoulder. Oddly, it's as though you've taken a weight off.
Spencer gives you the princess treatment for the rest of the night, as though helping him make dinner or washing the dishes will stop your bruise from healing. He even pops out to the store for a tube of arnica. It's, shamefully, one of the best days of your entire year, easily making the top ten, as most days with Spencer tend to do. 
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jesncin · 1 month ago
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The Portrayal of Noah Ikumelo's Disability in Spurrier's Hellblazer and Dead in America run
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Noah Ikumelo is a divisive new character introduced in Si Spurrier's 2019-2020 Hellblazer 12 issue solo (illustrated by Aaron Campbell and Matias Bergara, colors by Jordie Bellaire), he continues appearing as a recurring character in Hellblazer Dead In America (2024, 11 issues) Spurrier's long awaited continuation of his original run. Introduced in the very first issue as a Black, mute (hearing, but unable to orally speak) teenager who predominantly uses BSL to communicate.
We'll be discussing how Noah's disability was portrayed, how effective it was narratively, and thoroughly analyze the limits and ableist biases comics have as a visual language. Spoilers for Spurrier's Hellblazer and Dead In America run below. CW for ableism, racism, SA, police brutality, and general violence.
Disclaimer!! I am an able-bodied person with only occasional interactions with the Deaf community and am still studying ASL in my own time. All of these observations are made from an outsider perspective. I feel that starting a critical discussion from any source of knowledge for other more informed perspectives to follow up on is better than having no discussion at all.
However! I can offer some valuable perspective as a ~classically/formally trained~ comic artist- because we'll be discussing some inherit biases with how comic artists are trained to illustrate communication in this visual medium. I'll also be talking about lettering, which I'm nitpicky about so if I'm an expert on anything, it's those things.
I won't be going through each issue in as much detail as these first few issues for the sake of set up, but I will stop every now and then to discuss the portrayal of some scenes.
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Let's start with Noah's very first appearance in Hellblazer 2019 #1. Noah is introduced as one of the very young members of a gang called the Ri-Boys. He's tasked with kidnapping a magic specialist to help get rid of murderous angelic spirits in their local park that are getting in the way of their prime location for selling drugs. He kidnaps John Constantine, who is quickly informed that Noah is mute.
Noah doesn't sign at all in this first issue, opting instead to communicate with a little notebook tied around his neck.
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Despite K-Mag's (the gang leader) justification for recruiting teenagers as a "refuge" from a world that hates them, he's not afraid to treat Noah as disposable. He opts to send Noah's able-bodied friend (named Isa) on an errand instead of Noah because they "don't need no tongueless splesh backin' on ops-" and threatening Noah's life in order to get John to cooperate. So narratively the set up is clear: even though this gang is meant to provide jobs for the marginalized, it's still a bigoted organization that doesn't treat Noah well.
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After accompanying John to the park where the angelic spirits murder another junkie, Noah is so traumatized by what he witnesses that he throws up on his notebook- rendering it unusable. Issue #2 starts with Noah raving in BSL (the image at the very top of this essay) to his gang mates that ignore him. When John asks if anyone knows sign language, he gets no response. It's clear that Noah is an outsider even among the Ri-Boys. Regardless, by the end of the issue in the following day, Noah is back to using his notebook (I guess he got a new one).
So. The notebook. I'll be honest I hate the notebook. It's such a clunky thing for Noah to carry around his neck, and it's clearly a set up so that Noah throws up on it and can't communicate to people who don't know sign.
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On personal experience alone, I've been able to communicate with deaf people through texts on a shared phone. We'd just pull up notepad and write to each other to bridge the language barrier. And (as I've been informed by @scoliwings!) if phones running out of batteries is the worry, there's also pocket-sized boogie boards as a handy means of communication. At the very least Noah canonically has a phone (he is texting John in the panel above), and the Ri-boys can afford an ipad that K-Mag uses. These boogie board devices are much more affordable than either of those items and far better than a notebook.
Throughout Spurrier's treatment of Noah's disability, there will continue to be a sense of "we haven't even exhausted basic options to bridge a language barrier yet-" and this one is the first instance of that.
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[this is not how the panels look in the comic, I chopped and arranged the last panel to save up on tumblr blog image space]
To keep this essay focused on Noah's disability, by issue #3 after some plot stuff progresses, John reveals to Noah that he actually can understand BSL. It turns out he knows "a bit" of BSL from a relationship he had with a deaf man in the 90s. Regardless, throughout Spurrier's whole run, John is shown to understand Noah's signing fluently. You might be wondering why John kept this a secret. Was he withholding his understanding of BSL so he could "eavesdrop" on something Noah signs to his friends without knowing? Nope. This reveal had no narrative purpose; John gained nothing from hiding this from everyone and it retroactively makes earlier scenes weirder. John just decides to reveal this to Noah for no other reason than to be a jerk I guess?
Once John fixes the "murderous angels in the park" problem, he also convinces K-Mag to let go of Noah from the Ri-Boys gang so that Noah can live a more honest life going to school (we will never see this) and uh. Being John's new personal driver. John used to have a friend, Chas, who drove him around everywhere but with Chas gone now- Noah is narratively set up to take his place.
Eagle-eyed readers might notice something odd about the way the scene where John reveals to Noah that he understands BSL is staged: if John supposedly understands what Noah is signing, why is he walking away, yet responding to what Noah is signing behind him? Yeah. This is one of the most annoying artistic blunders throughout all of Spurrier's Hellblazer runs with Noah. Despite Noah being mute, other characters still act like they can "hear" him.
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Sign language isn't a language you can passively listen to. When someone is signing, that means you have to be looking at their hands and facial expression in order to understand what they're communicating to you. A casual irl example- in art school us hearing students could draw in our sketchbooks as the teacher lectured. A deaf student we had that year had to clarify that was not something they were able to do. As whenever the lecturer spoke- that meant that student would have to look up to their interpreter translating the lecture. So they weren't able to catch up with the classwork the way us hearing students could.
You'll notice in the panels above, John is preoccupied and talking to someone on his phone. Yet he's "hearing" what Noah is signing to him. John self identifies as someone who knows "a bit" of BSL- meaning he's not fluent. But this doesn't go anywhere since John's functionally fluent throughout both runs. It's like having a character say they know "a bit" of French only to show them being fluent through the whole story. Why bother mentioning a language barrier if it wasn't going to matter?
In these panels, Noah is signing while facing to the side- as in he's not facing John directly as he's signing, which obscures his signs from being clearly read. This wouldn't be a problem for folks who are way more fluent with any sign language (they can recognize signs at many angles), but for newbies you'll usually have people signing with their torso directly facing the other person to be as clear as possible. And they'll sign a lot slower. Little nuances like that make it clear that no one on the Hellblazer creative team have conversed with deaf people before- but why would something so obvious not be considered in the artistic direction of this run?
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Let's quickly go over comics visual storytelling and how comic artists are trained to tackle staging a "talking heads" scene. Scenes like this are when characters are having a long conversation, visually giving the scene a "samey" vibe. Our job as comic artists is to keep the visuals interesting, so there are a ton of tricks we're taught to vary up how a conversation looks. We'll have a character hold a prop, walk around, look away to something else, have characters multi-task as they talk (bonus if it's thematic to the conversation), basically outside of zooming in and out it's good to keep a character busy to give the scene visual variety. Anything to break out of that silhouette of two characters directly facing each other.
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[these are not how the panels are presented in the comic, I spliced these panels from 2 different issues to save up space]
Therein lies the problem: these tricks rely on an able-bodied standard of communication in order to function. Having a character like Noah communicate in sign, relies on the character he's signing towards to be paying full attention. Tackling "talking heads" as a comic artist explains but doesn't excuse these horrendous instances where poor staging of the characters ends up accidentally implying Noah "has a voice" because the able-bodied characters sure seem to be able to "hear" him even though they're facing all sorts of directions. Again, this just means the artist and writer have to rise to the challenge of keeping the scenes visually interesting while being inclusive to the disabled character the writer introduced into this world.
While we're talking about comics, I'm just going to go ahead and say I'm not a fan of the letterer's choices to visualize Noah's dialogue. To differentiate from the other characters, Noah's speechbubble is more like a caption box- it's square and light green. Instead of a tail pointing out of it to indicate who is talking like a traditional speechbubble would, instead Noah's dialogue box has a long arrow coming out of it. The arrow pointing out is just so corny. It says: "look! here's where the words are coming from! His hands!! Whoaaa".
Moreover, the arrows ruin the visual flow of the comic pages. We humans are hard wired to look at where an arrow is pointing. It's what that symbol is designed for. It's why all those clickbait youtube thumbnails have arrows pointing on them, it steals your attention. The best kind of speechbubbles are unobtrusive to the art, complementing it. Having it so that whenever Noah has dialogue we get these annoying arrows that stick out of the page composition just ruins it. Here's what it looks like edited on other characters' speechbubbles. It's a lettering eyesore.
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I see no reason why Noah can't have a speechbubble tail like everyone else. I personally like making the speecbubble tail a lil-squiggly when I'm drawing a speechbubble for a character signing. Differentiating the speechbubble enough but not to the point it's obtrusive to the page flow.
Additionally, Noah has "translation brackets" around his dialogue- it's a block of dialogue that starts with the "less than" symbol and ends with the "greater than" symbol to indicate a sentence being translated from another language.
<So you'll have a character's dialogue look like this in the speech bubble.> *
accompanied by a translation box clarifying that the dialogue is; [*translated from French, for example] in the first instance we see the language featured in the comic. Of course this isn't the only way to portray language in comics, sometimes letterers will go for using colored text to differentiate languages. There's no standard look! Noah's dialogue never featured an initial caption box that discloses what language he's signing in. I'm going to charitably presume that it's a stylistic move away from that practice so that the reader is put in the same confused position as John is upon first meeting Noah.
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I don't personally have an issue with the application of translation brackets to Noah's dialogue. Because even though Noah is communicating in a type of English language (British Sign Language), what we're seeing written in the dialogue of the comic isn't a direct translation of what he's signing. Unless it's Sign Exact English, sign language has different sentence structure, grammar and syntax from spoken English. So if Noah signs something like "#BUS RED YOU SEE WILL", then that translates to him saying "You will see a red bus." in written dialogue. It's a translation of his signing, even if it's still English.
I don't think there's an indisputably correct way to portray sign language in comics. Something like this will go down to personal stylistic choice of the artist. Maybe one artist decides they don't want to put brackets on ASL dialogue because they'd rather use that to differentiate English language from non-English language. There's an argument to be made either way! So long as you commit to your set of rules, I can at least try to engage with where an artistic choice is coming from even if I disagree with how it's done.
Unfortunately, that's not the case for Dead in America:
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It's in the very last issue of the run, but well. You forgot the translation brackets there, guys. Sloppy work.
To wrap up Noah's arc in Hellblazer 2019, Noah is revealed to be John Constantine's son. John had a graveyard fling with Liza Ikumelo, a police woman (barf), thereby insulting a demonic spirit (and by extension, me, the reader). Many years later the spirit hunts down the woman, cursing her to an eternal sleep. Her child, Noah, was nearby and by proxy lost his voice from the incident. So it's John Constantine's fault that Noah's mute, and that Noah's mom is in a coma. Hellblazer 2019 ends with John feeling an immense guilt for forcing Noah to kill a friend, meaning they now have to flee the country. John doesn't tell Noah that Noah is his son.
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So despite the poor portrayal of Noah's disability in this run, his character overall at this point was a really interesting addition to Hellblazer lore. He has a unique background of hardship; cursed by John's shenanigans at birth without even knowing it, and despite all of that he still has it in him to want to help and be kind. The reveal that he's John's son adds a layer of tragedy to everything- what does it mean to be another continuation of the Constantine family? Without even knowing it? There's plenty of angst on John's end of things, having unknowingly been an absent father for years. We get to see echoes between father and son in their actions. They're both from harsh backgrounds but humanitarians at heart, in different ways. It's very compelling stuff.
Years later, Dead In America is released as the long awaited continuation of this story. John, his friend Nat, and Noah are in America now, going on a long cross country road trip in a double decker London bus. Why? Just because. Noah and Nat take turns driving because John can't drive. In my opinion Dead In America is a bigger, more convoluted plot so I will stick to summarizing things that are relevant to Noah's disability.
This run has all the same problems as the 2019 Hellblazer run does with characters not being staged properly when Noah is signing to them, but it's the very first issue that reveals something particularly damning about how Spurrier views sign as a language.
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As Noah is driving the bus he is instructed not to stop for anyone. But later that night he suddenly does. John berates Noah, only to be surprised that Noah is speaking (and sounding uncharacteristically posh)! John suddenly can't speak, instead he signs. This is how he realizes he's in a dream and regains his ability to speak. It's clear what's intended by the storytelling here. Seeing an able bodied person sign is part of the surrealism that makes this scene out of the ordinary. It's supposed to be odd that John is signing, because it's weird that Noah is the one speaking. Signing is a thing only disabled people do, not anyone else. This dream sequence is the only time a character other than Noah signs.
This single narrative choice has a drastic ripple effect on the rest of the run; it means that through both runs, no one ever signs back to Noah. According to the National Association of the Deaf, 72% of hearing parents with deaf kids don't learn sign language. This leads to deaf kids struggling culturally within their own families. Sign language expresses things that written or spoken languages can't. So having their own family not bother to learn sign is deeply isolating for deaf kids. By not having anyone but especially John sign to Noah, any narrative attempt to portray familial care and consideration between the two is undercut by this barrier. Sure John cares for his son in his own way, but not enough to converse with him in his own language.
This is when it became clear to me that Noah's use of BSL functions more as "a voice but #diverse" instead of portraying sign language as a culture and community of its own. It's like characters of color being written as white, where their identities are just a palette change. Only here, it's more of "this character is speaking, but with his hands this time" never mind how that drastically changes how a character navigates the world and how people interact with him. Attempts at writing Noah's disability in this run continue to be lackluster at best and insulting at worst.
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Don't get me wrong, Noah is not a "whitewashed" character- his Blackness is integrated into the narrative of both Hellblazer 2019 and Dead In America... for better or for worse. By this I mean especially in Dead In America, Spurrier really likes to use Noah as a prop to show how racist America is. I don't think there's anything wrong with showing some uncomfortable scenes of Noah facing off American cops. In fact I like how this scene in the first issue shows the specific struggles a Black disabled person goes through, being double profiled as someone dangerous when Noah's attempts to communicate are misinterpreted as a threat- it sets the tone for how dangerous the country is for someone like him.
The original Hellblazer showed plenty of scenes where John is brutalized by the cops in both the UK and US, so gritty commentary is right at home with the character's stories. The difference here is there is almost a giddiness to inventing scenarios for Noah to experience profoundly racist situations at the expense of Noah's own characterization in this run. It becomes more obvious as we progress.
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This is another nitpick but when John, Nat, and Noah meet up with Clarice Sackville (an elderly magician lady) in issue #2, Noah discreetly signs to John, calling Clarice a "wrinkled old hag" only for John to whisper back "Be grateful she can't sign, Noah." meaning "be glad she can't understand what you're saying". If there was any opportunity to use sign language as a means of discreetly communicating around someone who doesn't understand it, this would've been the moment. But alas, only disabled people use sign language, right guys. John can only sign in a weird dream sequence.
The punchline here is that Clarice actually understood what Noah was signing, making a jab at him for calling her a "wrinkled old hag". I don't know how she understood what Noah was signing when she was clearly facing away from him the whole time but well. That's basically a tradition for Spurrier's runs at this point. Technically John's dialogue isn't wrong here. Clarice "can't sign". She understands it, but doesn't sign. Because that's a thing only disabled people do.
Let's put a pin on issue #4 and skip ahead to Dead In America issue #5. This is essentially an anthology issue containing short stories of little incidents John, Nat, and Noah encounter on the American road. I will be discussing the second story, "One-Way Ticket" written by Aaron Campbell (ordinarily the main artist of Spurrier's runs) with art by guest artist John Pearson.
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It's a story about a ghost guy who wants to go home but everyone ignores him (because they can't see him), John helps out by discovering his dead body and bringing the spirit comfort. It's a cute and cozy story if it weren't for the abysmal way Noah is treated in it, completely contradicting its themes. Noah is horrified at the prospect of John leaving him alone in the red bus, fearing the cops will show up. John responds "You're mute, just pretend you're dumb too." Even for asshole-John standards this is unnecessarily cruel. Dead In America started with Noah being profiled by the police, so Noah's fears are as founded as it gets. This short story may not be written by Spurrier, but it is written by the artist who DREW THAT SCENE.
I didn't splice the panels above, that is exactly how they are presented in the comic. Not only do we have characters facing away from Noah as he's signing again (a tradition even guest artists continue to perpetuate it seems), but it's followed up immediately with a ghost being grateful that John recognizes him. The irony that John gets told that after ditching his son. Why not make the story about Noah relating to the ghost? Remember that scene where Noah is signing to the Ri-Boys and they all ignore him? He and the ghost could connect over how they're ignored and treated as disposable, how accommodation for people like them is considered an inconvenience, how no one cares when their life is threatened.
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When John returns from discovering the ghost's dead body, just like clockwork Noah is being searched by a cop. Only now it's treated like a joke instead- with Nat taking a smoke on the side and John just slapping a spell on the cop to make him stop.
This nonchalant carelessness for the portrayal of cops is a big departure from how ACAB John was in his original Hellblazer run. John was a man who could outsmart and kill the Vampire King only to be immediately beat up by cops afterwards. He's called homophobic slurs for defending the dead body of his sex worker guy friend. It paints this image of a guy who can overcome the supernatural but doesn't stand a chance against mundane human cruelty. Because that kind of thing takes more than a magic trick to defeat. But in Dead In America, cops are a mild inconvenience to John. He can just cast spells on them and move on. It's disappointing how even in a run that's supposed to be a return to form for Hellblazer, John isn't as radical as he was written in the 80s and 90s. The cops don't have the kind of threatening authority they had in the older comics. Don't worry, it gets worse.
Let's hop and skip ahead to Dead In America issue #9. For plot reasons, John went missing. He disappeared to Hell and back for four weeks, separated from Noah and Nat. When he reunites with his friends, they want nothing to do with him. They're now running their own little film studio, shooting a film that metatextually reflects their road trip adventure. Again, for plot reasons. They're teaming up with a metamancer to speed filmmaking along. Nat's the director and Noah's the producer. He's practicing magic, and even found himself a girlfriend, Liz! She's an Asian girl though and that worries me. Because Asian love interests are usually seen as narratively disposable. A racist character assumes Noah is using "mind magic on her" because there's no way Noah would end up with someone so "hot", right? Right.
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[spliced panels from issue 9 and 10]
Issue #10 is when we get very much needed perspective from Noah and Nat's point of view. Nat always wanted to be a writer, while Noah longs for a life of normalcy. The two narrate their backstories, building their life up to meeting John, to where they are now with their film studio.
We learn how Noah got into using magic, and. Urgh. Sick of dealing with a language barrier as a disabled person, Noah uses magic to communicate with people. It's another case of "we haven't even exhausted basic options to bridge a language barrier yet-" I get it, throughout this run Noah doesn't have his notebook, and he doesn't appear to have his phone either (perhaps to hide from the authorities tracking them down) but to that I say pocket-sized boogie boards are still an affordable option that won't get you tracked down by the cops. I'd even prefer him buying another notebook over this. In this issue he's even seen with a phone, so what do I know.
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"huh! I just remembered that I, an American, actually do know British Sign Language! Hah how could I forget something like that ho ho" it's just so trite. Like we're not even going to try and grab a paper and pen to communicate? We're skipping to using dark magic instead? Okay. Worst of all, so you're telling me the racist loser was right about Noah?? That Noah wouldn't have a chance with Liz if it weren't for magic? What are we doing...
I'm not including the panel here but after Noah narrates "I won't use this shit to coerce people-- I'm not him. But... making things easier? Simpler? Why not?" the following panel is of him and Liz getting funky style in bed. Even with Noah saying he won't "coerce people" he still says that magic can make things easier. Simpler. There is this uncomfortable implication that Noah "made it easier" for Liz to sleep with him. Sure it can be read that he got close to her through them communicating on the same page. But when their relationship isn't developed, narratively she just kind of exists as a prop for his desires. To quote Noah himself in Dead In America issue #4: "It was rape."
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Time to revisit that pin. So issue #4 is about John and Noah masquerading as an exorcist and...an enslaved person to trick a small town into revealing a coverup: a girl was assaulted by six boys in their local football team, ending her own life from her story being pushed aside for the bright future of the football boys. Noah is so infuriated by how she was mistreated that he beats up one of the boys. It's a heavy story about how far a town will go to protect the future of boys while discarding the life of the girl, who to this day is anonymous. If you're wondering whether Noah pretending to be an enslaved person was necessary to the con, I can assure you it really wasn't.
What's frustrating here is that are we really supposed to believe that Noah, a character who was willing to risk his safety by beating up a rapist, would then go ahead and "make it easier" to sleep with a girl later? Remember. The reason he did that was because his disability was apparently holding him back. Are we really having it so the only person of color in John's cast for this story did this? That if he wasn't disabled, he wouldn't do this? It's frankly disgusting.
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Through John's silver tongue trickery, he pulls shenanigans that cause Nat and Noah to get arrested. Despite Nat being known to be violent, Noah is the one who is brutalized by the cops and put into solitary confinement. Because racism. Spurrier really wants you to know that American cops are so racist, guys.
I wonder where all this energy was for his Hellblazer 2019 run taking place in the UK. Where the only cop characters were noble people of color who are looking out for each other. Noah's own mom was a cop, even. He'll show Noah looking tense in a car as cops walk by in Hellblazer 2019, but for Dead In America? Noah is profiled by police three times, made to play an enslaved person for John's ends, and is in the receiving end of so many bigoted characters' racism. Spurrier is selective about his portrayal of cops when it suits him.
At this point it's transparent looking back at the treatment of Noah's character throughout Dead In America, that there's a giddiness Spurrier (and technically Campbell) have in crafting racist scenarios for Noah to go through. But it's okay because they have John say a lamp-shading comment to assure readers that the writers recognize "This Is A Racist Thing Happening".
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Reading Dead in America reminded me of the discourse surrounding "Strange Fruit" a comic by Mark Waid and J. G. Jones. I won't belabor explaining the plot, but what they have in common is this self congratulatory "giddiness to put Black characters in compromising situations" I keep describing. Like, they didn't have to create a naked Black Superhero named "Johnson" who doesn't speak and wears a confederate flag while dealing with racists in the Jim Crow era South but...these white writers just didn't have a choice! It's the rules of story! John has to pretend Noah is his property!
"Strange Fruit's desire to make big, albeit familiar statements about America's sinful past and do justice to both the subject matter and history often comes at the expense of considerate or even dimensional characterization."
-Vox writer Tre Johnson, 2017.
This is the kind of giddiness to indulge in fictional cruelty that isn't written with Black readers in mind. It's to entertain white readers with an exaggerated depiction of racism to make themselves feel better about being British. And if anyone's excuse is "well it's Hellblazer! Vertigo comics are supposed to talk about uncomfortable topics, John gets beat up by cops too back in the day", then need I remind you that unlike John, the sheer frequency Noah is put into these compromising scenarios is at the expense of his characterization.
Don't think that Spurrier's done playing with his "America Sure Is Racist" prop yet though.
As Noah (still bruised and battered) escapes prison, John pulls a couple more tricks on him: he "accidentally" reveals that Noah is his son, tricks Liz into faking her death to freak Noah out (we'll never see her again after this), and gets Clarice to pretend to die in front of him. All this angers Noah into attempting to kill John- but he stops. Because Noah still isn't that kind of person.
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This is all part of John's plan, supposedly he made a deal with demons in Hell that if John himself is killed in the allocated time, he won't actually die. But his plan failed. Unfortunately for John, Nat is still filming their road trip movie, and whatever the actors do, the real characters do as well. A script change happens, and John ends up killing Noah.
But aha, this is yet another trick. By issue #11, Noah wakes up bruise-free and alive (he even gets to smash in John's stand in actor for good measure). Turns out, John's deal with the demons of Hell was for his son to live, instead- a selfless act that none of the Gods and demons saw coming. After John does some more silver-tongue talking to a Dream Entity, he's able to grant people some rushed happy endings.
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Noah's mom wakes up from her eight year magical coma, the policeman hunting down Nat and Noah deletes his files, and Nat becomes the boss of a major studio- her writer dreams come to fruition. I don't know how Noah's getting back home to his mom, but shh shhh it's a happy ending, Spurrier promises.
So we have a twist to the usual Hellblazer story. Instead of John surviving at the expense of his friends and family, now John sacrifices his life to Noah and Nat so they can live freely. Last but certainly not least, as Clarice dies she gifts Noah the ability to speak. And when Noah does speak, he sounds so out of character I thought I was misreading things. Is this another lettering mistake? No? Then what is this random poetry.
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I recognize what the narrative is doing here. It's John's fault that Noah's mom is in a coma and that Noah is mute, so the resolution to that conflict is for him to undo the wrongs he did to the Ikumelo family- which includes Noah being "cured" of his disability. The problem here is not only is this an exhausting continuation of the "disabilities getting cured" trope- so Noah can join the "easier, simpler" life of able bodied people- but also that a large facet of Noah's identity is tied to John's character development.
Noah might not be the main character, but he's the deuteragonist of Dead In America- the beating family heart that ties John to someone who would otherwise be a stranger. Instead of narratively endearing us to Noah's character, Spurrier seems content to just have Noah drive the bus only to make occasional stops to demonstrate how Racist America Is. It's such a fall from grace to the intriguing character we met in Hellblazer 2019. All that characterization of someone willing to help despite a life of hardship is just out the window.
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[spliced panels]
My overall feelings about the treatment of Noah Ikumelo is that whatever representation he embodies feels like being thrown a really shitty party. Noah Ikumelo is an original creation for these two runs. Si Spurrier didn't have to make Noah a Black disabled teenager, but he did. Spurrier takes up that responsibility of representation by half-assing it. The kind of thing a guy who gloats about a bi-colored comic cover would do before accidentally calling the character in it "pansexual" in said comic. And then backpedal on twidder when called out for it. Half ass behavior.
Noah went from being this interesting exploration of unintended legacy to being a prop to make shallow commentary on American racism. Noah is never drawn consistently between artists but he sure is adultified a bunch to the point that I even see readers describing him as "basically an adult" when he's only 16-17 years old. I get that it's supposed to be tragic that he's forced to grow up too soon, but part of that tragedy is that he still is a kid. The portrayal of his disability shows how no research was put into being inclusive in either the writing or the art to the point it's downright nonsensical. The research amounts to looking up a sign language dictionary for words and that's it. This isn't even touching on how there was no recognition of the intersection between Black culture and sign language.
The problems with Noah Ikumelo are not unique to Hellblazer, or Si Spurrier or the Hellblazer creative team. They're a reflection of a predominantly able-bodied and white industry that is comics and media as a whole. The very way comics as a medium is taught carries with it an ableist standard for portraying communication. All this to say that tackling a character like Noah would mean doing the extra work to be critical of what we're used to seeing as the norm. But if you were just going to half-ass setting up a party for Black disabled readers, then why even bother y'know? It's not like Spurrier was held at gun point to create a disabled character. Frankly he was too busy crafting scenarios for guns to be pointing at Noah instead.
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patolemus · 8 months ago
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Sterek fic recs: Fake Dating AU Edition
Because @oldefashioned requested a fake dating rec list, here it is. These are all very funny, as fake dating fics ought to be, so I hope you get a good laugh out of it.
1. Not Your Disney Romance by Wrennefer (Wrenegadeone)
After a long-forgotten agreement of an arranged marriage between Derek and the daughter of another pack's alpha resurfaces, Stiles takes it upon himself to become the most amazing fake fiancé that a clueless, desperate alpha werewolf could wish for.
Notes: Domestic pack, my beloved. Stiles and Derek are precious here, I LOVE THEM!! The visiting pack, not so much, but who cares about them?? It's all pretty lighthearted, all things considered. It's completed.
2. Electricity In the Contact by ladyblahblah
In which Derek has been invited to the Greater Pacific Northwest Alpha Symposium (that's not what it's called, Stiles, stop saying that), and showing up unattached would mean an arranged marriage. When the rest of the pack objects, he agrees to let Stiles come along to pose as his mate. Derek is reasonably sure that he's not going to make it out of this weekend alive.
Notes: Werewolf convention fics are so good! I actually haven't found all that many, considering how common a trope it is, and it's a tragedy because they're always so well done! This one is no exception, and the mini-world building is also great! It's completed.
3. can’t be hateful, gotta be grateful by HalfFizzbin
"Be cool, Dad, we've decided to con Grandma." (Or, the one where the Stilinski men drag Derek to Thanksgiving dinner at Grandma's and she gets the right wrong idea.)
Notes: this one is just *cheff´s kiss* wonderful! It's all pretty domestic and the humor is on point. College student Stiles and the Sheriff are strong armed into spending Thanksgiving with Stiles' grandma, and they find nothing better than to bring Derek with them. Pining and misunderstandings ensue and thus comes the fake dating. It's completed.
4. Gravity’s Got Nothing on You by zosofi
“Three weeks,” Derek says. “Still don’t want to,” Stiles says. “I’ll pay you,” Derek says, and that… that has Stiles interested. Alf’s Antique’s may be a great job, but it’s not a high-paying job, and half of Stiles’s tuition is coming from financial aid, so… “How much,” Stiles asks, “are we talking here? Because I know your family, dude. And it’ll be kind of awkward after.“ “My family thinks you’re some sort of fucking gift to the world,” Derek seethes, like he’s jealous, “they’ll probably be pissed at me when we break it off, so don’t worry about that. Five hundred bucks.” “A thousand,” Stiles says, because screw ethics. Also, the Hale family is loaded. Derek can deal.
Notes: this had such a chokehold on me when I first read it. Absolutely wonderful. Enemies to lovers?? Maybe. Assholes to assholes-in-love, is a better descriptor. There's werewolves, and magic, and it's awesome! It's completed.
5. He’s Not Mine by Sonnee
Derek comes home to find an abandoned werebaby on his front porch and Stiles volunteers to help him out. Surprisingly, that is just the beginning of his problems.
Notes: again, it's all very domestic, like most fake dating fics ought to be. It's a kid fic, Sterek are mates, we have all the love. Not much else I can think to add... it's completed.
6. Real life isn’t a movie (life doesn’t make narrative sense) by dearericbittle (dutchmoxie)
Somehow accidentally insulting a hot guy in a coffee shop leads to pretending to be his boyfriend in front of a house full of werewolves. Stiles Stilinski is living his best life and making the most of his Hallmark movie moment.
Notes: this one had me cracking up because it's so funny! Stiles is living his best life, for real. Derek... suffers. But it's okay, because he gets a boyfriend out of this whole thing! They are disgustingly sweet in that assholish way they have. It's completed.
7. You look like my next mistake by Vendelin
“So, are you dating someone new? Someone who doesn’t mind that you’re frigid?” Kate cocks her head to the side, smiling as though she just asked him about where he bought his shoes. His entire body sighs in defeat as his shoulders grow square. Just as he opens his mouth, someone comes up to stand beside him, snaking an arm around his shoulders. When he glances to his side, expecting to see Isaac, his brain seems to malfunction. Because it isn’t Isaac. It’s Stiles Stilinski, the lacrosse talent of the year, a senior who Derek has seen multiple times from far away, but never ever talked to. In which Derek is a nerd jock, and Stiles is a frat guy, and Derek falls for him even though he knows he shouldn't.
Notes: this one had me HOWLING it's so good!! Frat boy Stiles, my beloved. It's technically not fake dating because it turns into an actual relationship pretty quickly, but it starts as fake dating so I'll take it. Stiles is an absolute sweetheart in this one, I love him! And Derek is shy, and insecure, but he's so great, and everyone gets a happy ending except Kate, which is always a good thing. It's completed.
8. All’s Fair In Orgasms and War by bleepobleep
AVN BREAKING NEWS-- DIAMOND VISTA RIDGE BREAKS HIS CONTRACT WITH HALE HOUSE "We haven't seen much of our favorite rock hard stud from Hale House ever since that indie twink dethroned him as champion in Orgasm Wars, but it's just been confirmed that Diamond will no longer be working for the legendary studio famous for producing some of our favorite werewolf-on-human works. Don't fret, Diamond fans, it looks like he's been spotted cozying up to True Alpha Studios! Apparently he couldn't get enough of that one human and then followed him home. Could it be true love? Keep your eye on this studio-- us at AVN think we're about to get a lot more of Diamond in a very new way!" ~ The one in which (almost) everyone is a porn star, and Derek just wants to curl up with his fluffy blanket and watch the Hallmark channel, but work and falling in love gets in the way.
Notes: okay but is this fake dating? Maaaaaybe. It's kinda complicated. Basically everyone here is a porn star and the pack has this studio where they cater to werewolves and have a whole thing about established relationships, which is where the fake dating comes up. It's surprisingly very fluffy, considering this is a porn au, and Derek is the softest goober in this one. Stiles is completely enamoured. It's completed.
9. Wanted from the You Are series by Asterekmess (Livinginfiction)
With the Hale pack finally settled and safe, it only makes sense that something would happen to screw it all up. To top it all off, Stiles has to pretend to be Derek's mate, or face a pack of angry Alphas. He's doomed.
Notes: Alright so this series is wonderful. The world building done for the Alpha pack is also great, and that's the center of the second part (which has the fake dating). I do recommend reading the first part before jumping on to Wanted because it is a direct continuation. Also, it's an amazing au! It's completed.
10. For Love is Not Ours to Command by weathervaanes
Where Derek's skills at thinking on his feet mean that he and Stiles have to act. For the sake of Stiles' dad, of course, for the sake of the pack. No personal interest interference at all, whatsoever. Right. -0- “Why does my dad say that you and your boyfriend are a bad influence on me?” “What?” “Yeah, what boyfriend? Dude, you are not allowed to not tell me crap like this. You didn't think I'd like be a douchebag or something. Right?” “No, wait, what? I have no boyfriend.” “He says you were with him at the police station.” Stiles blinks. “Uhm. Oh shit.”
Notes: Stiles just wanted to find dirt on Raphael McCall to blackmail him. Somehow, he got himself a whole ass boyfriend. It's complicated. That's it, that's the fic. It's completed.
11. Stiles Stilinski, Boyfriend Extraordinaire by MareLoup
“Beacon County Sheriff's Department, this is deputy Mahealani speaking.” “Oh thank god!” “Stiles?” “I, uh, I need some advice.” “Advice?” “Yeah. So, hypothetically, say you met your boyfriend’s mother and sister for the first time ever. Completely by accident. In the grocery store. And they convinced you to help them make a dinner to surprise aforementioned boyfriend when he got home after work. What would you do?” Danny paused, and then, “Stiles, you don’t have a boyfriend.” “That’s not the point! And I said hypothetically.” “Stiles...what are you doing right now?” *** Stiles never imagined he’d be in Derek’s kitchen cooking a surprise dinner with Derek’s family while they waited for Derek to get home from work. Partly because their visit was a complete surprise. But mostly because Stiles didn’t have a boyfriend. Or even know who Derek was. But he’d already come this far and Papa didn’t raise no quitter!
Notes: this is to date one of my favorite Sterek fics. I laughed so much while reading this, I'm not even joking. The whole thing is a comedy of errors gone right. Stiles somehow finds himself pretending to be Derek's boyfriend, only he has no idea who Derek even is and why his family knows Stiles at all. His inner monologue is one of the funniest I've read, and his slow descent into (good natured) madness is wonderful. It's completed.
12. Love Like An Ache In The Jaw by Anonymous
“So let me get this straight,” The sheriff massages his temples, “You found a magic book, and performed a magic spell that has backfired and magically bound you to Derek Hale, rendering you both in agony if you’re not in the same room.” Derek and Stiles exchange a look. “Um. Yes.” Stiles says sheepishly. “Right. And just to be clear, when we’re talking agony… exactly how agonizing is the agony?” Derek clears his throat. “Sir, I’ve had a pole stabbed through my chest and held there for an hour. This was… similar.” - In which boredom, magic and dumbassery come together to produce a Christmas miracle slash disaster. Oh, and Stiles' grandmother who knows absolutely nothing about the supernatural happens to be in town. Oops.
Notes: another hilarious one. Stiles does Stiles things and ends up magically bound to Derek. No one is amused except Stiles' grandmother, who's having the time of her life, here. It's completed!
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My heart hurts so bad for Aziraphale because I can honestly just relate to him so, so, so much.
(not putting this one under a cut so warning season 2 ahead, I'll tag it at the bottom too)
Aziraphale says, "Nothing lasts forever," but I don't believe for a second he doesn't wish that it did.
He WANTS things to go back to how they used to be. He WANTS the seraphic Crowley squealing with joy as he cranks up the universal machine and sets the stars aflame. He WANTS there to be no sides, he WANTS to believe in the idea of the host united, he WANTS to go back before Crowley got himself in trouble by asking questions. He wants, I think, to be in that moment of creation and adoration forever.
Change seems to frighten him. There's an aspect of uncertainty. There's an element of chaos, the loss of control. I understand this deeply. And what the Metatron offered him was just that: certainty, control, the ability to dictate his own narrative.
I used to be in a toxic job. On top of it, I had intense anxiety and other undiagnosed neurodivergencies that made it even harder to fit in and understand the untold rules I was supposed to follow to get along. When I first got there, it wasn't so bad -- perhaps I was, like Aziraphale, also a bit idealistic. Then there were some changes that brought instability, significant more anxiety, and a lot of nights spent agonizing over my lack of control over it all.
My friends and significant other tried to convince me to leave, but I didn't want to. I didn't know what else was out there. I didn't know if it would be worse. I didn't know what kind of stability it would have.
Then my manager left, so that spot opened up. I had worked there for a long time, and honestly, I never saw myself going into management. I didn't think I could. I wasn't sure I even wanted to. All of that extra stress, on me? Not to mention, getting FURTHER into the job that was taking a massive toll on me? But then...
Then I would have control. Then I could run things the way *I* had always thought they should run. I wouldn't need to worry about who would replace my manager and whether my life would be a living hell -- I would make it what I wanted it to be. Upper management was really pushing for it, so I applied.
To make a long story short: I don't think it went very well. I didn't have the support I needed. I didn't have the emotional skills I needed. I think I did my best, but I'm not fond of those times. At the time, I was SURE that I wanted to move up even more, I was SURE this would make it all better. I thought this was what I REALLY wanted.
But that's not what I needed. What I needed was to get out, and eventually I did. Even as ready as I was to leave, it was absolutely agonizing. I could barely stand to handle the unknown. I was going to work together with my spouse, actually, and I was so excited for that, but I still... I still was upset and worried sick over the dramatic change that would befall my life, after I had made the decision to leave.
That's where I can relate to Aziraphale. I wonder what would've happened if, before I had actually left for good, the head honchos had come up to me and said, "We want to keep you -- how about we offer you (an even higher position)?" -- would I have said no, or would I have wanted to make a difference?
Funny, I said exactly that, too. That's almost why I didn't change jobs in the first place. I said, "But I feel like I'm really making a difference with what I'm doing now." But what pushed me over the edge was realizing that none of that mattered to them, it was all about THEIR control of ME, not the other way around.
I'm so intensely curious to see what happens with Aziraphale next, but I'm sure he will learn what Crowley understands: nothing lasts forever, and sometimes it's good that it doesn't -- even if sometimes we wish it did.
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zenokei · 6 months ago
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blue lock manga chapter 271 spoilers, mentions, and analysis (this is an absolute word vomit)
my drabbles, understanding, and analysis on the itoshi family goes something like: when the itoshi parents didn’t know how to properly deal with rin’s behavior when he was little but sae seemed to be the only one that can ‘understand’ and ‘get along’ with rin—they unintentionally gave the responsibility to sae.
i suspect that their thinking is something along the lines of “sae seems like he’s got an understanding of rin that we don’t, maybe it’s better that way, he’s rin’s big brother, after all.”
and honestly, i think that’s why we as the readers find the itoshi parents “distant” from the brothers’ lives.
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but do i think they’re bad parents? not necessarily, although i also do think that they could’ve done more. but given certain circumstances…it’s kind of subjective.
let’s talk about itoshi mom first
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evidently, itoshi mom is a very concerned mother: she doubts herself, she worries for rin (and sae), and she’s generally lost.
and how could she not feel all those things?
i perceive this as she’s a mother who doesn’t distance herself from her children, but because she doesn’t know what to do at all, she seems hopeless and doesn’t have any solution to fix things. naturally, she has the instinct to do what a parent should in times like scolding, etc—however, this is blue lock, everyone has their own ‘ego’, yet some of those inner desires are just cultivated beyond rationality at this point.
(which strengthens my suspicion about the itoshi parents unconsciously putting the responsibility of rin’s behavior onto sae…)
now, itoshi dad
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honestly, i don’t have much to say about him, he’s pretty hands off with what’s happening with their children.
as seen, he does seem more composed and lax about everything, and sae definitely got that from him. i wonder if it’s because of itoshi dad’s ‘talks’ (?) with sae that somewhat developed sae to be the big brother he was to rin back when they were little.
i believe the narrative is just implying that he doesn’t think much of the behavioral differences that rin and sae show, even when rin gets injured and gets in trouble, which is a little yikes on his end but that’s just what i understood.
most definitely, the siblings got the trait of being closed off from their dad, lol.
overall, i still don’t believe they’re bad parents whatsoever. however, i do want to talk about my recurring theory that the itoshi parents gradually placed the responsibility of rin’s behavior (and his whole development) onto sae.
let’s discuss the impact of itoshi sae
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when sae was around 13-14, he went to spain, and during the pre-teen/teenage years of the itoshi brothers, their family seems rather peaceful.
the itoshi parents—aside from the pride and joy they felt about sae’s success as a rising soccer player—seem rather refreshed, anew, and just happier. they don’t carry the gloom of being worried for their children’s behavior anymore.
but why?
it’s because of rin and sae’s bond over soccer. from a young age, rin has joined his big brother’s soccer team as they both relished the games they could never play with anyone else aside from each other. basically, the itoshi brothers found what they were for. and they definitely got occupied over it.
though i’m only connecting the dots for my own analysis, i firmly believe that the moment rin played soccer with sae, he found a way for his destructive mindset to be utilized. through soccer—the only thing rin has been focusing on—rin was able to effectively let out his desire to break, destroy, and kill what’s “amazing/perfect”.
and who was the only one there by his side, every pass after pass and goal after goal? of course, it’s his big brother. the one to only truly understand and see rin from the very beginning.
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honestly, it all makes me wonder if the itoshi parents ever talked to sae one-on-one about rin’s behavior. (which honestly makes sense, because sae seems like a pretty obedient kid). but at the same time, what are the chances it made sae extremely analytical, too?
i mean, sae was deemed a prodigy at what 7 years old? that’s seriously insane. so it shouldn’t be a surprise that all of what’s leading up to the ego of the itoshi siblings plays a big part. i’m leaning on the possibility that sae was somehow influenced by the itoshi parents to be more keen or observant on rin—that or sae was only doing what he did out of pure instinct, that’s entirely plausible.
however, whatever the course may be, the outcome that sae noticed something with rin (even before their ego in soccer) will not change.
from this point onwards is just my random babbles about the itoshi family’s relationship (kind of…)
“but when sae left for spain the itoshi parents didn’t appear to care about rin-” i am not hearing that. we should remember that blue lock is (honestly borderline but whatever) about SOCCER.
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i believe the first ever backstory we got of the itoshi siblings was only soccer-centered, and in rin’s perspective/narration. why would his parents be included in his soccer career when they most definitely weren’t?
again, i don’t believe that they’re bad parents.
also, i doubt that itoshi mom would ever just stop worrying about rin, even when he’s grown up! in fact, i think that with sae leaving for spain, she probably felt even worried because their children are separated. yet at the same time, i do see her not knowing what to really do again. perhaps they had no cameo after the airport scene because rin found it irrelevant in regards to soccer and his ego.
but, then again, i’m very certain that the itoshi parents do care for their children, and are still connected to them somehow…just not when it comes to the field.
aside from the second backstory (the most recent one) they look out for them (i assume this goes for rin too). in the character book the egoist bible, sae mentioned how his parents send him salted kelp from home to go with his rice when he asks. additionally, we saw itoshi dad say in their first back story for sae to “take care of your health!” as he leaves for spain. the itoshi parents do seem to care for rin and sae as supportive parents of athletes, however, only in the sidelines, because i personally don’t think it goes deeper than that.
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honestly, everything for me is pointing that the itoshi parents aren’t active and present in the itoshi brothers’ soccer careers. not necessarily implied, but in the ‘another blue lock: episode omotesando’, rin is the only one seen that has a ticket to sae’s japan triumphant match. a ticket sae sent—of which i assume—only to him.
although this is all still just my speculation, i am still leaning on that the itoshi parents aren’t really relevant in the itoshi siblings’ soccer life, but rather, they play a role in how they ended up developing.
that’s all!
again, this are just my own thoughts about this chapter. this is not canon by any means and i am not forcefully saying what i am discussing is right and should be deemed the only theory/ies out there.
i’d love to talk more about theories and analyses on blue lock, let’s chat!
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lurkingshan · 2 months ago
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Japanese QL Corner
We have officially entered another bangers only era for Japanese queer media; I am loving all of these currently airing shows. These are all streaming on Gaga or provided via fansub (feel free to ask if you don’t know where to find them).
Our Youth
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This show is killing me with the quiet yearning and the push and pull and Hirukawa's whole entire deal. The way Hirukawa and Minase keep drawing closer together before stepping back. The way they have created their own little bubble in Minase's home, and how they can't be that way together in other spaces. The way Hirukawa is so desperate to be close to Minase and Minase clearly wants it too, but doesn't really understand himself yet and so keeps rejecting it. I was so sad when Hirukawa admitted he provoked his dad on purpose so that Minase would let him back in; I hope Minase will ease off on the barriers from here on out. I know something bad is coming and I just want them to have a little bit of happiness before we get there.
Love is Like a Poison
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The battle couple was tested this week as we finally found out Haruto's connection to this case with an assist from the lady restaurant owner, his past as a con artist was revealed to Shiba's employer, and Shiba's boss demanded that he cut ties. I was so very proud of Shiba when he did not waver about what is most important to him, and worried when Haruto took off and left his ring behind. I'm keeping the faith, though; I don't think Haruto is leaving Shiba.
Love in the Air Koi
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Okay, first of all, let me get a scream out about that sex scene, because good god did they deliver. Nagumo Shoma is a gift to us all (I will be seeing that back roll in my dreams), and I thought their chemistry now that Rei has figured himself out was fantastic. The whole sequence from the time they left the race track was beautifully shot and performed, and the intimacy felt very real. Aside from the sex, one of the things I like most about this narrative is the belief that a relationship can be the reason you get your life together rather than a distraction from your goals. Rei has all the skills, but he's been lacking focus and drive, and that's exactly what Arashi is giving him. I really liked the way this episode weaved their different subplots together to show them both working toward something, and how their success brought them together in the end. They are good for each other! I also really loved all the Rei and Kai moments in this episode, and that Kai continues to be a perceptive and supportive friend. Kai's own story is coming soon, and we got our first glimpses of it at the end of today's episode. I'm impressed with how this adaptation has streamlined the story to cover every important beat in half the time without ever short changing the relationships.
The Fragrance You Inherit
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This week Sakura was reunited with her long lost love via their scheming children, and I loved every minute. My favorite thing about this drama is the relationship writing. Sakura and Toki have such a lovely bond, and I like that he realized after surprising his mom with Mone that it may have been insensitive, and that he cared enough to check in with her about it. Sakura is also a great mom, supportive of his relationship and sensitive to his feelings even as she is grappling with her own shock at this reunion. I also really love that Sakura has such a good friend in Ryosuke (who continues to flag as queer to me). I'm excited to get to know Mone better as an adult and see where the story takes us. You can find the show here, with big thanks as always to @isaksbestpillow for providing English subs.
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blackbullet99 · 2 months ago
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Debunking The Stupidest Pro-Zutara Claims.
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Howdy y’all.
If you follow me, you know I’m a Kataang truther and a Zutara hater. I always thought Kataang was cute as a kid, but I honestly didn’t appreciate how mutual and well developed their relationship more until I was older. By contrast, I didn’t think much of Zutara initially, I knew it had a huge following and I kinda got why, they have a very interesting dynamic that drastically changes and them becoming friends is heartwarming, but I never got the hype. Then I saw this…
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And I was utterly baffled at the mischaracterization, media-illiteracy, Zuko dickriding and Aang demonization on this post. Let’s have a look…
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See what I mean about the Zuko dickriding and Aang demonizing. You compare one scene of Zuko making tea for everyone in Book 3, to Aang showing off in Book 1. Need I mention that Aang later apologized for getting big-headed by the end, and later episodes show that Aang (and the rest of the group) all work together. Right off the bat and we get this dumb Katara/Cinderella narrative.
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Not another Dadko. Momtara I kind of get, but Zuko is not a father figure. Zuko himself is still young, still growing, still capable of being immature. The first moment isn’t even a parental thing, it’s more Zuko stopping Katara from confronting Aang because he somewhat understands Aang’s frustration of being unsure and conflicting about a huge decision, because he’s been there not long ago.
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Comforting someone when they’re worried or grieving isn’t parental responsibility, that’s being empathetic and good friend. Katara comforts Zuko when he’s worried about comforting Iroh and these people lap that scene up.
“Aang acts like Katara’s son” is such a baseless argument. Ignoring the fact that Aang canonically has romantic feelings for Katara and vise-verse, the first moment was a one-off joke about Katara being motherly, the second was also a joke where Katara PRETENDS to be Aang’s mom and her brother’s husband, the last moment is Katara telling Toph how she TRAINS Aang because she’s his Sifu and so it Toph, does that mean Toph is also Aang’s mom?
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Let’s go over this for the umpteenth time: Aang kissing Katara was wrong, it was bad, we should’ve seen him apologize, but he immediately regretted what he did, he knew he messed up, he’s not a sexual-assaulter, blah, blah blah. The problem with this is that these are both completely different situations and also Zuko had to be told to get off Katara, so not only is this point meaningless, but it doesn’t even support Zutara.
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This has gotta be one of the dumbest arguments here, Aang has always seen Katara as an ally and dear friend first and foremost since day one. Admittedly Aang was somewhat possessive here, but him nodding mean he literally though Katara was his possession, more so him thinking Katara returned his feelings (which she did). But throughout the entirety of the show Aang sees Katara as not only an ally, but a friend, a fellow waterbender, Zuko only saw her as a friend and ally near the very end of the show, before that he simply saw her as a peasant in the way of his goal.
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Again, both of these are completely different contexts and both Aang and Zuko were pretty adamant about how Katara feels about them. Zuko frustratingly confronts Katara about why she’s mad it him, he wants to earn to trust and sleep deprives himself so he can resolve this as soon as she wakes up. Katara asks why Aang is so crestfallen, he explains part of the reason, Aang (while being somewhat pushy) wants to know how Katara feels before he confronts Ozai in life or death.
Both are different situations and really I wouldn’t say either is better than the other.
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Okay, there’s a lot wrong with these points, lemme go over them as best as I can.
Aang has put his needs over Katara’s several times, just to name three: he gave himself so the Fire Nation would spare her home, was willing to forgo his own Waterbending because Pakku wouldn’t train her, willingly put aside mastering the Avatar State because SHE WAS IN DANGER!
Aang understands the importance of Katara’s family, he leaves so as to to come between Katara and her family when she threatens to leave, he brings back her necklace knowing how much it means to her.
In both of mentioned Aang instances, he realized he was wrong and he and Katara reconciled, the first instance was out of a misguided attempt to set things right after he was killed, and the former is something Aang would never do again, in a later episode he actively takes Sokka to his father and Aang is content for he and Katara to go their separate ways for a while. I find it utterly hypocritical to be a Zuko dickrider while bashing Aang for mistakes he regrets, apologizes for and learns from, you know who else does that?
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Once again, THE CONTEXT! In the first scene Katara mentions her mother’s death in a more matter of fact way to explain to Aang that the Fire Nation have killed a lot of people including his own. Aang however in a state of denial dismissed the idea of his own people being killed. In the second scene Katara lashes out at Zuko for all the trouble he caused and Zuko after going through some development prior empathizes with her in a way to get Katara to understand he means no harm.
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Aang also empathized with Katara’s loss. In this same episode, he himself says he knows what it’s like to feel the pain and rage Katara feels, specifically when he found out all his people were dead and encouraged Katara to confront the person who caused said pain.
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I REALLY HATE making a Katara centric episode about shipping, I really do, many people say Zuko was right Aang was wrong, or Aang was right Zuko was wrong. Neither side was entirely right or entirely wrong.
Zuko was right to take Katara to confront Yon-Rha and this was when he truly began to understand what Katara had been through and see her as an individual, while Katara comes to see Zuko as a friend and forgive him, however he had no idea what Katara was going to do and didn’t think of toll this would take on Katara if she did end up choosing violence.
Meanwhile Aang not agreeing with Katara and confronting her isn’t a bad thing, he understands just what it’s like to lose someone close to you and to feel unbridled rage and hate, he’s been there, he also knows Katara isn’t cold-hearted and she could come to regret seeking violence. He actively encourages Katara to face Yon-Rha without killing him, which she does and as Zuko says he was right about what Katara needed. But as Katara points out she didn’t forgive Yon-Rha, forgiveness wasn’t the right choice, and you know what, this is something Aang accepts.
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These points in particular really highlight the stupidity and hypocrisy of the OP. For one, as we can literally see Aang ignored his training specifically because Katara was in danger and he wanted to save her, this is no different from Zuko sacrificing himself to save Katara, in fact Aang has put his life on the line for Katara multiple times. Furthermore OP gets on Aang’s case for leaving Katara to fulfill his duties in the Book 3 premiere, but then praises Zuko for leaving Mai to fulfill his duties. They’re literally praising Zuko for doing the same stuff Aang’s doing and whining about Aang whether he chose to ignore his duties to be with Katara or if he leaves Katara to fulfill his duties, you can’t win!
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Okay, screw this guy, this has nothing to do with the Zuko saving Katara, OP just wanted to bitch about Aang not wanting to kill Ozai as if this supposedly makes him selfish even though Aang is literally facing Ozai to save the world and is simply trying to find a peaceful solution, it’s like the theme of this show was lost on this dude.
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This was the creep who made weird comments about Katara’s appearance wasn’t it.
I really don’t get what this final point is trying to prove. The first scene is Katara happy that Zuko is alive, the second is Katara happily gazing at Aang, who never at any point tried to change Katara, at all. Point me to one scene, one moment. If this is about how Katara looks, she doesn’t look that different, at the very least, her eyes are slightly bigger in the second pic because she close to someone she loves, but even then it’s a lot of whining from this guy about nothing.
Case in point, this is when I realized Anti-Kataang Zutara shippers have are media-illiterate morons with not a single good take, fake-fans who only care about mischaracterization for the sake of a mid middle-school ship.
Maybe I should make a counter post about what Katara gains from Kataang.
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nevermeyers · 4 months ago
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Yeah, I know I said I'd keep quiet about it because I plan on ignoring the ending. I've done it plenty of times, even with books I consider my favorites. "Oh this book is so good, it's one of my faves... How does it end? I don't remember." I'm going to do that with jjk because I've done it more times. Anyways.
Seriously, where's the character development? Why dedicate an entire chapter to showing how much criticism affects you and making excuses for your narrative instead of fixing it? Gege could have written about the characters and their problems, their worries, their evolution even while talking about how the politics of jujutsu world are changing rn.
What are Nobara's thoughts right now? There could have been an entire chapter dedicated to her character to fill in the gaps and finish defining her, what about her mother? How does she feel about her childhood friends? What are her plans now?
What about Megumi? Yeah, seeing him laugh was therapeutic, but honestly his character hasn't had the development/ending I expected. The timeskip was weird, his acting is literally the same as the beginning of the manga. It feels like I'm reading the same person who appeared in chapter one and not a traumatized boy who is learning to live. Where is Itadori teaching him that it's actually worth moving on? Where's the whole PTSD thing I'm sure he has? (fuck megumi haters btw fuck them, and fuck the way they victim blamed a kid). What are his thoughts about Gojo? About Sukuna?
Yuuji... Our mc. I was expecting to see him mourning Choso, mourning Gojo. But no, apparently it's more important to explain that there was a secret society (lmao) than to have him show respect and tears for those people he loved. His family, who he never got to spend time with, and his sensei, who decided not to execute him and who taught him almost everything he knows. I wanted to see him taking his friends to the movies to see some B-movie horror instead of going through the horror of watching characters insult him and tell him that it's better if he were dead.
And yes, I know there are two chapters left and some of the things I mention here might appear, but we've already wasted our time with one chapter, that's many pages. There won't be time to fix whatever is this. I feel bad :/
Now, one of the things that bothers me the most is that there are characters that were implied to be dead and now suddenly appear alive. I thought this was about letting the new generations create a fair world, but no. Do you know which character bothers me the most? Mei Mei. No, I'm not against someone writing sa/csa in fiction as long as it's not romanticized (I accept the unreliable narrator because that happens a lot irl and it's sad). The thing is that Mei Mei literally embodies the values ​​of the jujutsu world. In the jujutsu clans there was everything, sexism, abuse, neglect and most likely incest since (at least that's how I see it) they are like the monarchies of the Middle Ages. Mei Mei is the embodiment of all those rotten values ​​that Gojo hated, that the new generations are destined to eradicate. Seriously. What is she doing alive? Take her out rn. Gojo didn't die for this.
I read someone saying that maybe the point of this chapter isn't to break the cycle, but to repeat it. I have to say that I'm a big fan of that trope! It reminds me that humans repeat the same mistakes, but even if that were the point I think it wouldn't be well written.
There came a point in the story where both options: love is worthless and love is worth it were acceptable by the end of the manga. This is the ending where love is worth it, but why hasn't anything changed? The characters we saw in 269 are almost exactly the same we saw in chapter number one.
If this is a story about how love is worth it, accept the consequences and write characters who, thanks to love, move forward and build a new world instead of neutralizing any kind of development
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itsabouttimex2 · 6 months ago
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Sooooo... How do you feel about the season 5?
In short? Mid. 6-6.5/10.
In long…?
A severely rushed season that bit off way more than it could chew. A season that had the characters pull powers from their asses more frequently than ever before. A season that had shitty “dramatic” moments for the sake of having dramatic moments. A season that lampshades issues instead of fixing them. A season with so, so much wasted potential.
It basically boils down: everything they wanted to do COULD have been good, but they just didn’t have the time.
I’ll go into some varied details below. I’d also like to make clear- I’ll be tagging all of my Season Five Posts with “Lego Monkie Kid Season 5” and “LMK Spoilers” until August 1st. Then the gloves are coming off and I’ll stop tagging them.
(I still liked the season, for what it’s worth- and you can watch it in full here! I’ve got some drafts and bots cooking as we speak!)
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This was a cute send-off to Flying Bark! It was nice of them to acknowledge, in some way, everything that those dears did for the show- because Lego Monkie Kid would NOT be where it is without them.
Significantly less cute-
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The absolute kick in the fucking face that constantly superimposing old footage over newer, worse footage is.
You don’t want us to be constantly reminded of the animation downgrade- that’s the literal last thing that anyone wants. Why would you constantly remind us that it used to be better?
What the fuck does this accomplish? Okay, let’s make comparisons, cause that’s the only thing that can result from pulling this shit-
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This is what happens when you constantly reference the older, superior content.
PEOPLE CONSTANTLY NOTICE THAT YOUR CONTENT IS WORSE.
Also, why is it so saturated? How do you make a Lego Minifigure look like he has jaundice?
It’s just a bad look to constantly reference content you can’t live up to. I’m hoping they’ll just recreate old content instead of sloppily pasting it into the background of the show- it’ll be less jarring.
Alright, what else…
———
Yay, I called it! Nuwa is not MK’s “loving though bereft mommy”! Which I had been guessing ever since the Celestial Pagoda leaked, actually-
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I mean, come on. He’s literally stealing the stones away from her as she reaches to take them back.
And the Season confirmed it! Nuwa might’ve be been MK’s creator, but she certainly wasn’t his momma.
And you know how the series subtlety clues you in to how little she cares about her “son”?
Nuwa didn’t give him a name. She had hundreds, maybe thousands of years to think on it- but no. No name.
We mortals name our pets, our vehicles, our art. We love them enough to bestow monikers.
Nuwa didn’t even bother to name her own sapient mortal creation.
But when he makes a move against her, does something she doesn’t want, takes destiny into his own hands?
She calls out to him with one word- not “son”. Not “MK”.
Nuwa angrily calls him “mortal”.
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Becuase that’s all he ever was to her, really. A mortal pawn. A handmade puppet.
Someone designed to fulfill a sacrifice. Even though her intentions were good, MK’s sole purpose by her hand was to shoulder the weight of the world like a good little hero.
So… a potential “villain” in the making?
———
Lampshading the fact that you’re doing the “macguffin hunt” again does not excuse doing the “macguffin hunt” again.
Lampshading the “apocalypse after apocalypse” plots doesn’t make them any less exhausting.
Lampshading Macaque’s lack of narrative consequences does not undo the awkward and weak redemption arc.
———
They changed Mei “no longer wielding” the Samadhi fire, I guess.
Ignore that she never displayed a hint of concern or sorrow over “losing it” because now she’s sad and worried (after backlash from the fans over her losing it) about losing it.
Like, Subodhi knows so much about the world and the universe that he’s aware of his existence in the ink scroll- but he gets Mei not having an interplanetary level threat inside her wrong?
I smell a retcon.
———
Macaque’s redemption arc is still shit. I’ve got a whole rant queued to release soon, actually- I imagine it might be the final time I comment on his arc until Season Six.
To put it short- Macaque still falls upwards into redemption. No pushback or difficulty or introspection. He’s just a magically better person without any onscreen development to make the change believable.
But they reference this at one point?
Sun Wukong points out that Macaque escapes the trial without any punishment, and is just allowed to mope in place of an actual consequence.
So maaaaaayybeeeee they’ll do something in Season Six? I’ve lost all faith that he’ll ever be an interesting character again, though.
He’s essentially just “brooding rival #80058”. Instead of being a character that calls back to Seasons 1-3, from 4 onwards he’s just a brand new dude who totally didn’t commit any atrocities with a smile on his face- and he’s a worse and more boring character for it.
———
If I haven’t misjudged the intent, I think Monkie Kid will be going back to being an episodic series for the extent of Season Six. Again, they lampshade the “apocalypse after apocalypse” thing, yeah?
And now they have a perfect formula- find someone who’s having trouble with their new power, and help them.
And we might see Bai He again???
Let’s hope for a good breather season!
———
Rest in piss Li Jing their asses did NOT cook with you sorry papa
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You could’ve been interesting in the writers didn’t try to pull a “loving father” bait and switch after you got like four scenes of being a raw jackass
If they were going to deviate from the source material and make you a good dad couldn’t it have just been:
“Li Jing, you were not invited to the trial!”
“STF that monkey son of a bitch hurt my baby boy-“
“Father I’m 300-“
“Hush son, let daddy take care of this- that monkey son of a bitch hurt my baby boy when he stole the Samadhi fire map!”
Maybe next season you’ll get to be interesting, hun.
(I’m still writing for Lotusfam though)
———
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Drama for the sake of drama. 0/10 scene. Could’ve just had the interruption come AFTER they held hands, but no. Gotta drag shit out for the shippers or whatever. There was no reason to prolong this reunion.
I’m really not a fan of the “just wait another season for it”, mentality. Stop stretching shit out. You had a chance to do something sweet and heartwarming, and chose not to for the sake of trying to drag a conclusion out.
Ugh.
———
Characters just pull powers out of their ass for the sake of forcing dramatic scenes.
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THESE ARE DOGSHIT SCENES
THIS MAKES NO FUCKING SENSE. THIS IS DONE SOLELY FOR THE SALE OF “MUH DRAMATIC FINALE” AND IS BAD
ITS BAD WRITING TO HAVE CHARACTERS PULL NEW MAGICAL POWERS OUT OF THEIR ASSES FOR THE SAKE OF DRAMA
IF WUKONG HAD THIS POWER FROM THE START HE SHOULD’VE USED IT AGAINST HIS FUCKING LETHAL ENEMIES AND NOT SAVED IT FOR HIS PRECIOUS STUDENT
MK NEVER LEARNED TO USE THE FILLET SPELL. THE WRITERS PULLED IT OUT OF THEIR ASS TO FORCE DRAMA BY HAVING MK TORTURE HIS MENTOR LONGER THAN EVEN THEIR ACTING ENEMY LI JING DID WITH A CIRCLET THAT IS CANONICALLY TIGHTER THAN HIS FIRST
WE SEE HOW FAST HE IS WHEN HE FIGHTS THE AZURE LION
MK CAN MOVE FASTER THAN WUKONG
HE COULD’VE BEATEN HIM THERE IN AN EQUALLY CLIMATIC RACE
I FEEL NOTHING WHEN I WATCH THIS BECAUSE IT IS FORCED DRAMA FOR THE SAKE OF DRAMA
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💚💚💚
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