#however I think this could be a misdirect…

[chirpsythismorning]

[insomniakisses]

Misdirected Anger

Character: Queen Rhaenyra Targaryen (HOTD)

Reader type: Gender neutral

Warnings/Notes: mentions of B&C, mentions of blood and minor bodily harm, reader is married to Rhaenyra as is daemon, but no relationship to daemon stated, mentions of past trauma and Viserys being an awful father. Cannon Targcest, reader involved Incest, Targaryen reader. Hurt & Comfort

You couldn’t believe it. Every time you thought about it you felt sick. When your sister and wife, Queen Rhaenyra, had given the order for Aemond’s death you promised that to her along with her council. Daemon had presented you with his plan that he would sneak someone in to kill Aemond, promising it would only be Aemond who died.

You had agreed, too easily now you thought about it, helping him sneak out and sale off to kings landing while you distracted your wife. Usually you wouldn’t trust Daemon, he was known for his temper and violence but he was your wife’s husband and your uncle you had assumed you could.

You couldn’t. The news the following council meeting made you feel sick you stared at him, his smirking smug little face as your queen denied and denied the accusation. Having known the pain of loosing one’s child she would never have given such an order. Neither would you.

They excuse themselves to talk, the council departs all but you and Rhaenys. She watches you, the watery eyes and the far away expression and she scoffs.

“You thought you could trust him?” Its a statement that leaves her lips, as she knows the answer already.

Her expression, however, softens when she notices the blood dripping from your hands. Having dug your nails in to your palms and how you look like you might pass out. She moves to stand, guiding you up and to your chambers.

On the way a pissed off Daemon storms past pushing you aside in his temper. You call after him to no avail letting out a shaky breath when a guard informs you of the Queen summoning you. With a not so reassuring squeeze to the arm Rhaenys leaves you.

You follow the guard, the feeling of nausea rising and tears freely flowing. You feel like a child again, about to be berated for your actions by the ruler of the realm made to feel small and insignificant in the eyes of the crown.

You barely step a foot inside before shes yelling, her anger towards Daemon, only fuelled by their argument, all being directed at you. You can hardly think strait your head spins and your hearing comes and goes the noise of the room drowning out to focus on your erratic heart beat before an insult is thrown your way again.

Small. You feel it, like your back in kings landing and its your father standing in front of you. Her voice being replaced in your mind with his, he never did like you. A fact everyone well knows, Rhaenyra herself had been the one you ALWAYS ran to. At least until Daemon became more important. Yet here she was the same ice look in her eyes. The same insults.

“Useless.” “Idiotic.” “Good for nothing.” “Waste of a space.” “Disappointed.” “I hate yo-“

She stops herself on the last one, mouth hanging open as she gasps, having turned round to see your state. Knees to your chest head resting on them as you dig your nails into your skin breathing heavy.

“Baby!” She tells falling to her knees in front of you, but your already gone, shut down and deep into your own head.

Whimpers and babbles of apologies escaping you as you rock yourself, having learnt to sooth yourself from a young age, it breaks her heart knowing she caused you such great pain and she feels guilt at the jumbled words that leave your mouth next.

“Dae-“ *gasp* “mo-n” *gasp* “Aemond” *whimper* “pro-omised” *gasp* “kill” *breathing speeds up*

She nods scooping you into her arms, and onto her lap, her hand rubbing your back as she sways you like you would a small child. Three kisses are placed to your head as her other hands plays with your hair. Her soft voice whispering “breathe baby” and “I’ve got you little dragon”

Your eyes close as you grasp at her dress, head nuzzling against her neck as your breathing calms. Hiccups escaping now and then as silent tears fall against her neck.

She stands carrying you to bed laying you down softly you watch with wet eyes and droopy eyelids as she undresses you to your underclothes in an attempt to cool your warm skin down, undressing herself before climbing in bed with you.

She lays behind you, humming when you turn to lay on her chest, her hands doing back to playing with your hair and rubbing your back. She kisses your head again, her signature three kisses, her hand tracing “I Love You” on your back and you let your eyes clothes as she whispers apologies and praises. Promising to never treat you like that again.

You just hope this is still the case when Daemon returns.

[dunmeshistash]

I've been having a bunch of ideas kinda float around my mind like little screensavers that I didn't feel like putting on paper, but one of these ideas just so happened to hit a corner, and it gave me an idea for what might perhaps be a bit of a silly (and oddly specific) question, but one I was very interested in asking nonetheless. Especially after reading your long post on the Demon's perspective of Laios' backstory. I really hope you don't mind.

While my memory's a tad blurry on how the scene played out in detail, I still find Laios' confrontation with the demon to be one of my favorite scenes. Definitely top 5. It's the one where Laios secretly orders Izutsumi to execute him at the slightest hint of suspicion. That one. I think that scene is among my favorites because it's both a perfect demonstration of Laios' remarkable cleverness hidden underneath all that lack of social skills, but it's also the perfect demonstration of how utterly terrifying the demon is.

At first I was under the assumption that Laios had it all under control, but the Demon's frighteningly gentle with how he twists Laios' very thoughts in a way that frames him as some sort of misanthropist, and the Winged Lion's words seemingly foil whatever plan Laios may have had. It made me think that Laios had failed, and Izutsumi's orders to lob his head off may have been a fail safe because he didn't know if he could successfully thwart the Demon's plans.

However, after finishing the story, extras, etc; I started thinking that perhaps failing was all part of Laios' plan, too. At least partially. Perhaps he realised that the only way to outsmart and ultimately best the Demon, was to let the Demon win. Perhaps he concluded that the only way for him to stand a chance against the Demon was to lose, to be at the Demon's mercy, to have his words utterly twisted; because he couldn't just make the demon "think" he had won. The only way for the Demon, the embodiment of hunger, to think he had won, was for him to actually win.

Maybe he ordered Izutsumi to… how do you put it… "artificially shorten his lifespan" because he knew the Demon would use his love for monsters against him, and would manipulate him into wishing to become the Ultimate Strongest Monster. His recent addendum (that the Ultimate Strongest Monster can eat desires) seems to support this theory, if I remember correctly. However, I can't remember for certain. Maybe his plan was to trap the Demon in his body and kill it that way? I genuinely can't remember.

So, I was wondering if you'd be interested in answering this oddly specific and mildly stupid question: How much of Laios' interaction with the Demon was planned, and how much was him fucking around and finding out? I'd love to know your thoughts on this!

PS: Laios rocks the swag he dons as king. Would happily serve under him. PPS: I hope you have a wonderful rest of your week, Mr. Morbius! Thank you for this awesome blog. You're cool.

Hello!!!!! Yeah!!!!!! The question Kabru himself would rather not know!!!!!!!!!!!!!!

Same as Kabru I decided not to think too hard about but Kui definitely gave us hints that this could be the case, I don't think Laios "planned" to fail from the start, he strikes me as a very optimistic guy (as you can see with how he first thought the confrontation with Thistle could go and how he STILL tried to talk to him instead of fighting) but I think he did "prepare" somewhat for the worst case scenario, hoping for the best but preparing for the worst?

Like I don't think this part of his plan was a misdirection I think he really hoped it could be this simple? So this was plan A (although he realizes this is too optimistic I think he hopes it will work)

This part tho I'm pretty sure was partly a misdirection for his teammates, since he asks them to help him get his mind back only to tell Izutsumi to kill him at the smallest hint he lost his mind, so I think this was plan B as in "If I become the lord of the dungeon kill me so there's no more dungeon lord" which was the original canary plan

Which again is kinda confirmed by this thought bubble

I think this was plan C

He knew he no longer wished for a country where humans and monsters could coexist (because of what he saw) so I guess he had *some* idea that becoming a monster was his other wish and added that as a fail safe if plan A and B failed? I don't think he could have guessed the Demon would use his body but maybe he thought he could use the nature of the demon against him (granting his desire to become a monster even tho the monster can eat him)

As Marcille and Kabru realize tho, that might all be a coincidence and he really thought plan A or B would work lmao. WHO KNOWS Laios' mind is a mystery

I'd recommend rereading chapter 88 if you want to go thru Laios' whole plan and how the demon manipulated him, it's a great chapter (87 too with the demon origin story)

[clairebearsparkles]

Ok I have been workshopping this tmagp theory for a bit because I am very passionate about it and as time goes on I really feel like it could be viable.

Fredi is more important than we think. I mean yeah, you could probably guess that already. However, I think it is important because I think Fredi is pretending to be Chester, Norris, and Augustus. I think Fredi is like a thing that is wearing the remnants of these people. "But the email from Jon," Fredi could easily just pretend to be Jon and send an email, an internal email specifically. I don't think our jmart and Jonah are in the computer, I think the program knows them in some way and is using them as masks. Narratively, I think the fact it's Jon, Martin, and (probably) Jonah's voices is a bit of a red herring. Like it's a misdirection so you focus on "omg it's the blorbos!" and not even consider the thing powering the blorbos.

Think about it, it goes with everything that has been said about this show: It keeps jmart's fate ambiguous, it touches on the idea that this show is about what makes a human a human (Fredi trying to be a person by taking on the identities of real people, would that make it a person?), Fredi could just pull a Jonah voice from thin air or has some outer knowledge about it, it would explain why Fredi has a name (I feel like it having a name gives it some form of character), and it's way less sad than everyone getting sergei ushanka-ed.

This is a bit of a crack theory, it really has no firm evidence, but like it just makes so much sense to me lol.

[eldritchkraken]

time for some more hot takes on mouthwashing.

so it's obvious that each character is color coded in the dialogue, yeah? the colors for swansea (yellow) and daisuke (pink) seem like obvious because it's the main colors of their clothing. (i've also touched on daisuke's color symbolism in a different post.) but what about the other three?

jimmy (green), curly (white), and anya (blue) all have outfits that are mostly the same color since they wear the same boiler suit uniform. it's certainly nothing to do with their eye color - anya and jimmy have brown eyes, curly has blue eyes. but what else is there?

anya is in a constant struggle with her mental health for the entire duration of the game, even before the crash. blue is often used as symbolism for sadness, so that would fit with the depressed state she falls into especially after the crash. the color could also be foreshadowing her death - her model's skin color looks pretty off after she succumbs to the poisoning.

jimmy has no visual indicators for the color green. however it's written all over his personality. jimmy's driving motivator is envy - he desires the status and admiration curly has, and spends the whole game trying to prove that he can do it too. so yes, i think picking the color green as an indicator for jimmy's envy is a dead ringer.

finally, curly. white could possibly be representative of his post-crash bandages but i would like to think there's a possibility it was chosen for misdirection or foreshadowing. white is the default dialogue color when someone's not talking, so it could subconsciously make you assume we're playing as curly in the beginning. following the other, theory, though, white is a symbolic color for innocence - and thus foreshadowing that curly did not cause the ship to crash.

[vidavalor]

The Vavoom: Or, when the show's hinting Crowley & Aziraphale first kissed

It was not in 2.06, if that makes you feel any better?

Meta/theory hybrid stuffity stuff below the cut. As always, all interpretations are valid. This isn't meant to offend anyone who sees things differently. Post contains spoilers for the films 'Kiss Me Deadly' (1955), 'About Time' (2013), 'Love Actually' (2003), and 'Four Weddings and a Funeral' (1994). Apologies that this took a few days. Life's been wild this week. Let's dive in...

Right. So. The Vavoom...

I feel like most of us, by this point, are probably in agreement that Crowley is not talking about something he saw in a Richard Curtis film when he talks about his plan to help The Shop Lesbians to fall in love... and that, if he's not talking about something he saw in a movie, then he's talking about something he experienced... and yes, sure, absolutely Crowley has been on Earth for 6,000 years and could have vavoomed with basically anyone who has ever lived at this point as well as one semi-sentient car and even the world's once only-remaining unicorn but... we all know he's talking about Aziraphale. So this is about unraveling what the show presents as Clues to this end and using those Clues to solve for x and see if we can prove that Crowley is talking about Aziraphale and then figure out when this Vavoom happened with the information the show has given us so far... and the good news is that we can do all of those things so here we go...

The first thing to do is to eliminate the Richard Curtis films. Let's just start with Crowley saying that he saw his whole vavoom moment in "a Richard Curtis film." As someone who has seen a frankly embarrassing number of Richard Curtis films, I can tell you that this is a very amusing misdirect from a writing standpoint. It is amusing because it's a wink of sorts towards the same problem that comes up when you try to find The Vavoom on the GO timeline based on what the show's presented so far. What is that problem? It's that-- at first, cursory glance-- no one GO scene or Curtis film seems to have everything Crowley describes. Don't worry, though, because we actually do have enough information to find the lone caraway seed beneath these three cowrie shells here. You'll be Aziraphale-voicing an "a-HA!" very soon. :)

There are only two Richard Curtis films that feature elements Crowley lists as having occurred during The Vavoom: 'About Time' and 'Four Weddings and a Funeral.' The Awning of a New Age scene in GO actually winds up an homage of sorts to 'About Time', as it is referencing it pretty heavily. However, there is no vavooming in 'About Time'; meaning, there is not this gaze-to-kiss moment that Crowley is talking about. A wedding reception tent collapses under heavy rain and soaks several supporting characters in the film, much like how our supporting characters Nina and Maggie get soaked by too much rain causing the awning to collapse. There is no gaze or almost-kiss or kiss before it. There are other canopies-- umbrellas-- but no one gazes or kisses under one. So, Crowley did not see The Vavoom in 'About Time'-- but that particular Richard Curtis film might have been the one in Crowley's mind when he quickly latched onto Richard Curtis films while speaking with Aziraphale in the pub.

As a result, thinking about his conversation with Aziraphale while trying to craft his Shop Lesbians Vavoom might have actually caused him to over-weather and cause the awning to drench Maggie & Nina. So the joke there is more that The Original Vavoom of which Crowley is speaking in the pub scene is something that really happened and had an element or two in common with a scene in the Richard Curtis film, 'About Time', which also features Bill Nighy (see: 'Love Actually' stuff below), whose mannerisms Crowley seems to like to emulate at times. As a result of seeing the film and thinking about how it *wasn't* like The Vavoom-- the canopy collapsing, the lack of an actual Vavoom in motion prior to this, all of that disappointing Crowley greatly when he saw this film lol-- Crowley ironically then says he got the whole idea of The Vavoom from a Richard Curtis film... when, in fact, *the distinct lack of Vavoom* in the film was what Crowley remembered from it... and then, upon thinking of the pub discussion when trying to start an Awning of a New Age for Maggie & Nina, it accidentally became part of his miracle, causing him to over-Weather and, kind of hilariously, substituted the kiss Crowley was trying to incite with the collapsing awning scene from 'About Time'... the film then disappointing him all over again lol.

The other Richard Curtis film that is relevant is 'Four Weddings and a Funeral.' You might be familiar with the scene-- its ending scene-- just from cultural osmosis as this point, even if you haven't seen the film. Hugh Grant proposes to Andie MacDowell in the pouring rain. So, the big problem with this scene is that there is no canopy. None. Whatsoever. They're soaked through. We never see them go inside. They look into each other's eyes and they kiss but it's raining on them the whole time and Crowley is really specific about his canopy requirements for Vavooming. This scene is also wrong because it's a proposal between characters who have known one another on and off for years and have a more extensive history, whereas Nina and Maggie are much earlier in a potential relationship and The Vavoom Crowley talks about is an intense gaze into a first kiss. That said... just as how 'About Time' ties to Nina & Maggie's story, there are some 'Four Weddings'-y elements to Crowley & Aziraphale's relationship, in that their story also covers them meeting up through different points in time and such. 'Four Weddings' was also the first mainstream, hit rom com to openly feature queer characters in supporting roles so it's a strong one for GO to be referencing... but, ultimately, no Crowley-described Vavoom scene in sight.

Finally, there's 'Love Actually', which doesn't actually have a single element in it that pertains to The Vavoom but I'm throwing it in here because I'm just looking at all GO ties to Richard Curtis films at this point. 'Love Actually' features Nina Sosanya (GO's Nina, of course) as a queer-coded character and, in GO, David Tennant has a few scenes where he seems to be channeling Bill Nighy's Billy Mack from 'Love Actually' in S1. (Tell me Crowley's not doing Billy Mack's walk when they cross the street to the bookshop in Eleven Years Ago in S1 lol.) For those of you who have somehow avoided seeing this movie lol, Billy Mack is an aging rock star who is the best character in the film and heavily queer-coded. In S2, there's also some Big Bill Nighy Energy in the "we'll just to have to make it worthwhile then" bit with Muriel in Heaven and also in the way he chuckles in the "I *was* there, you see" moment with Gabriel. Also probably worth mentioning that, in 'About Time', Bill Nighy plays the dad of one half of the main couple in the movie and his role is to teach him how to live life and this involves pursuing the woman he is trying to marry throughout his ability to fall through time. So, Bill Nighy is basically playing the S2 Crowley of 'About Time' while the main couple of that film parallels Maggie & Nina, in that he's setting up the scenario for the couple involved to get together. Nothing in the film, though, is as overt or contains elements that match The Vavoom, other than the collapsed awning, as we got into above.

So mah point is dolphins that while there are a couple of Richard Curtis films that contain bits and pieces of what Crowley is talking about, there isn't a single one that has anything really remotely close to the, uh, extremely specific scenario he was detailing... so now we have to look at just what the hell Crowley's on about, exactly... and for this, we are, surprisingly, going to wind up looking at a very different film from any by Richard Curtis-- 1955's classic film noir, 'Kiss Me Deadly'. Why this random film, you say? Because it's actually not at all random to GO S2. It's the origins of the phrase "vavoom"... and S2 of GO contains a multi-episode homage to the film.

'Kiss Me Deadly' is, tonally, very different from GO as it's pretty dark film noir but it has a plot you might find a little familiar. One night, driving down a dark road, the main character picks up a hitchhiker who has lost her memory. After she's murdered, the film revolves around the main character-- a private investigator-- and his lover/partner investigating the case to try to solve the mystery. GO's episode "The Hitchhiker" opens with a plot and visual homage to this film when Aziraphale picks up Shax in The Bentley and obviously S2 contains a plot surrounding a mystery related to a character who has lost their memory in Gabriel. I'm going to do a separate thing that is a deeper dive into this with particular emphasis on how the lead characters relate to Crowley and Aziraphale at another point in time because it crosses into too many other things to fit it into this one at the moment but the reason why I bring the film up now is because of its ties to the phrase "vavoom."

"Vavoom", alternatively spoken as "va va voom" and containing the same meaning, is thought to have originated in a cartoon in the late 1940s but its use in "Kiss Me Deadly" in 1955 is what pushed it into popular, cultural use and knowledge. In the film, there's a character named Nick, who is friends with the two leads (the Crowley & Aziraphale-paralleling Hammer and Velda). They have nicknamed him "Va Va Voom" because he says it so often. Nick is an auto mechanic who works on the leads' car-- yes, there's a Bentley parallel lol-- and it is his use of the phrase that made it one we are familiar with today. But what does it really mean exactly in terms of this scene in the pub?

Without going too far down the road that we wind up in another meta about wordplay and symbolism in S2 here, the show is doing things related around the word 'passion' and all of its various meanings. It begins with Aziraphale referring to Maggie's feelings for Nina as "a pash"-- which is British English slang for "a crush" or "an infatuation". It comes from the word "passion"... but the word "passion" actually means something much different. "Passion" is very specifically romantic, erotic love when used to describe a relationship. It means enthusiasm when about a hobby or the like-- Aziraphale will get the neighbors to come to the meeting/ball by negotiating their commitment based on things they're passionate about-- Mr. Arnold and Doctor Who, Mutt and the history of magic. Finally, S2 is tying a lot of this passion-related plot to *The* Passion-- as in, The Passion of the Christ, or the Christian phrase for the death and resurrection of Jesus Christ. Why is it called 'The Passion' anyway? Because the Latin root of 'passion' is 'pati', which actually means 'to suffer.' Looking at all of this and how the show pairs up scenes with different types of passion is a whole other meta. I'm bringing it up here because of the relationship between 'passion' and 'vavoom'...

"Vavoom" means voluptuously sexy. It means passionate. Something having a sense of "vavoom" or "vavavoom" means it is either suggestive of or is sensually pleasing. In GO S2, Maggie & Nina represent the pash use of passion-- the new love, the crush-- while Crowley & Aziraphale are the show's example of passion in its fuller, richer meaning of romantic, erotic love. So now that we eliminated the idea that Crowley is talking about having seen an example of this vavoom he's talking about in a movie-- I mean, 'Kiss Me Deadly' is totally a movie Crowley saw once so he might have first heard the phrase in it, like many people did but there's no vavoom itself the way Crowley describes it in the film, just the phrase-- but yeah, now that we've eliminated the idea that Crowley got his idea from a film, we can say with relative ease that he's talking about something he personally experienced. I think we can all agree that if he did, it was with Aziraphale and the purpose of him bringing it up in the scene is not just as a suggestion to solve the issue of needing to matchmake The Shop Lesbians but as a way of being seductive towards Aziraphale.

This is also part of 'Kiss Me Deadly' in that Crowley here is the Velda to Aziraphale's Hammer. Hammer is preoccupied with the mystery. Velda tries to help him solve it but is also seeking his romantic attention the whole time and being rebuffed in favor of the mystery. It's darker in the film, as you'd probably expect, since it's film noir, and Aziraphale is actually subtly playing back in GO S2. In GO, it's mostly played off as Crowley, kicked out of bed since the religious family are in the guest room lol, continuously making overtures towards Aziraphale to torment him a little for the whole Gabriel situation but also mainly just because he likes to and he misses him. (It has been, like, maybe 18 whole hours lol.) He continues it into later in the day when Muriel is in the bookshop and Aziraphale is a little more overtly playful then but he is in the pub scene as well. All of this also ties into the fact that Aziraphale wants to drive The Bentley but again, that's a whole other meta. Going to stay focused on the kiss here...

So what we're saying is that, in the scene in The Dirty Donkey, Crowley does that whole lean and the sexy hands and that super posh voice he does from time to time to seduce Aziraphale, and describes their first kiss back to Aziraphale when asked to come up with a romantic solution to help their neighbors realize they are in love. Specifically, Crowley says this:

Whew. *fans self* Jesus, Crowley... No wonder why Aziraphale thought you could help The Shop Lesbians. That? Was romantic...

The key thing I love about this is that while everything he says lends itself to the idea of a kiss, he doesn't actually explicitly say that until the later scene in the back room when Muriel is in the bookshop-- the "one fabulous kiss" part. It's evident later on when he explains the plan to Jimbriel and when he puts it into action that his intent is to trigger a scenario that might prompt Maggie and Nina into kissing and when the awning collapses, he feels like he failed at the overall Vavoom. He did, however, see it working from across the street, such were the fireworks, when they looked into each other's eyes and what's sweet and also very hot about this scene in the pub is that the looking into each other's eyes is the key bit of The Vavoom to Crowley. The kiss is what happened as a result of looking into each other's eyes. The romance of the gaze and the passion of the kiss = The Vavoom but the latter without the former isn't the whole rapturous, perfect moment and Crowley is into this moment. He's still weak in the knees over the thought of it.

And what he says happened in it? They looked into each other's eyes and realized they were made for each other? Crowley thinks that. He says that, flat out, to Aziraphale. Crowley. Who was abandoned by the God who was supposed to love him believes that same God created he and Aziraphale for each other. That they're fated, destined soulmates. And that they both knew it, in that moment when they were taking shelter from a sudden rainstorm together, under a canopy, and they gazed into each other's eyes and then

Yes, I am aware that he says "humans" in that bit in the pub scene. He's referring to Nina & Maggie but also he and Aziraphale have a tendency to refer to their love for one another in human terms in different scenes throughout the series, which is probably a whole other meta and *refocuses on finding this damn kiss here*...

So Crowley-- while heavily emphasizing the words "together" and "canopy", both for maximum sexiness and to lead us in the correct direction lol-- tells us what's needed in this scene, right? We need a sudden rainstorm, a canopy, them wet from the rain and taking shelter, Crowley's glasses to be off or he's in a situation to be able to take them off (ironically, unlike he was when he was in the pub while he's talking about all this erotic gazing), and then we have all this gazing into a very vavoom-y, very passionate first kiss.

So, what scenes seem at all remotely tied to things Crowley describes for The Vavoom? There are three scenes that jump out immediately-- and it's none of them lol. They *are not kidding* about quite literally 'three cowrie shells and a lone caraway seed'. There are three scenes that they want you to think could be connected to this and be distracted by to complete their sleight of hand trick. They want you to look towards Aziraphale's hand and not up his sleeve, so to speak.

So the three cowrie shells scenes here are Before the Beginning, Eden, and the Job minisode. Why? They are the scenes that involve Crowley and Aziraphale and some form of a canopy, which is one of the two words in Crowley's whole Vavoom moment that he heavily emphasizes. So it's not Before the Beginning and it's not Eden and why? Because we're missing the other word Crowley heavily emphasizes-- *together.* Crowley and Aziraphale took shelter from a sudden rainstorm *together* under a canopy. That's the set up. But Before the Beginning and Eden-- the first scenes our minds run to-- are not this because they are sheltering *one another* but not sheltering *together*. One of them is exposed to the rain each time.

There's an additional possibility that is thrown into the mix that is tied to these two scenes, which is the S2 announcement poster-- the one that features Crowley and Aziraphale on Whickber Street in the rain. That one is also out because Crowley is being sheltered from the rain by Aziraphale with a tartan umbrella (ridiculously adorable, I agree lol)-- but they're not both sheltering together. That one feels like it was designed just to fuck with us, especially because Crowley's hair in it is, for some reason, at Eleven Years Ago length in it. It's almost like it exists to both be cute and to, after the season is over, make us go wait... was it then? (It was not then.) More distractions. Ok, so, then what about the Job minisode?

Is it ox rib night? This seems to have some elements at play-- there's a roof and a storm and them together and all-around kiss vibes-- but it's actually not this, either. That said? Job is connected to it in a big way and helps prove my theory here so we're going to come back to it. I'll eliminate it here by pointing out that when Crowley defends The Vavoom as a possibility for Maggie & Nina to Aziraphale, he says "get humans wet and staring into each other's eyes" and "humans" in that bit is them, even if they are not fully. This eliminates the Job minisode as The Vavoom because it confirms that Crowley & Aziraphale did get wet as they went to shelter from the storm. In the Job minisode, they never go out in it. So, Job is out, too.

Ok, so then how do we find the one scene that unlocks this and points us towards the answer hidden in plain sight in front of us?

What is the one scene that really should tell us more about The Vavoom? How about the one wherein Crowley partially recreates it?

The Awning of a New Age is the lone carraway seed. Maggie & Nina paralleling Crowley & Aziraphale. What can we learn about what happened with Crowley & Aziraphale from what happened in this Maggie & Nina scene?

We already know that Crowley feels like he partially failed at recreating The Vavoom for them. It was meant to lead into a kiss and then the awning collapsed. That is what is different from Crowley & Aziraphale's first kiss but Crowley was delighted by the gazing, which we already know to be the very important bit of this here. Off of this, we can conclude that there's obviously a parallel of this bit for Crowley & Aziraphale and this is where the parallels in the scene stop. That means that what happens *before* the gazing moment in The Awning of a New Age scene is important because that's the parallel. So, what's happening while Crowley spots them together outside and starts up the rain? They're talking, right? And what are they talking about?

They're talking about one of them-- Nina-- having a partner who is unreasonably upset. Nina is anxious about it. She doesn't blame Maggie for it, as it's not Maggie's fault. It's also not Nina's own fault and what Lindsay wants from Nina is confining and abusive. Lindsay, we learn, is cruel. We decide in this scene really how much we don't like Nina with this woman and that we want her to be with nice Maggie who is sweet and supportive and is over the moon for her.

On the surface, this would seem to be absolutely nothing like any Crowley & Aziraphale scene we've ever seen, right? Fooled by what is on the surface-- modern lesbians in London Soho, one of whom has a romantic partner-- this seems to be a plot Crowley & Aziraphale have never had. Except, that it's not. It's a parallel to one you'll remember.

One, paralleling sentence here for you...

God's a bit tetchy...

Awning of a New Age unlocks that Lindsay being unreasonably angry and dolling out insane punishment for no actual misdeeds is a parallel to God during The Flood. God was Aziraphale's Lindsay-- the unseen, abusive partners, sending down their words and marching orders and causing distress. Crowley approached Aziraphale like how Maggie approaches Nina. Aziraphale half-heartedly tries to defend God the way that Nina half-heartedly tries to defend Lindsay but both pretty much give up in the face of Crowley's and Maggie's sane responses and support. The agreement that the present situation-- Lindsay about to abandon Nina, God about to abandon her creations in The Flood-- is horrible and unjust. They connect over the lack of justice. The Flood scene we saw ends as the rain begins, with Crowley and Aziraphale both looking up as it starts to fall.

Maggie and Nina get further-- they get to the first half of The Vavoom, in parallel. We haven't seen that yet with Crowley & Aziraphale. (Maggie & Nina also didn't have to go stop and save a bunch of people first lol.)

So how do we know that The Flood was the first kiss?

How do we know that Crowley and Aziraphale first kissed in Ancient Mesopotamia in fucking 3004 B.C. and have been vavoom sorted gone on each other ever since?

Because it happening in the aftermath of saving lives in The Flood would then mean it meets every one of the elements Crowley describes. They get wet from the storm. They will work to save everyone, which is evident from Aziraphale being dead fucking certain in the Job minisode that Crowley was a sweetheart who wasn't going to kill any goats or kids. How would he know this for sure? Saying that what God was doing was terrible in The Flood scene isn't enough for Aziraphale's surety by Job. That means that Mesopotamia and The Flood is the first time they teamed up. It means that Crowley saved people and animals during it. It more than likely means that he did so in a way similar to what he does during the Job minisode-- he transformed them into something that could survive the storm, probably rocks or something. (Big Medusa vibes lol.) But what would happen then? Crowley and Aziraphale would have to *stay through the storm to turn the people back*, right?

So, they'd need to seek shelter from the rainstorm. Under a canopy that could survive the storm. One they can both step back under and bump into one another beneath. Most likely, it's an actual canopy in original meaning of the word-- the shelter of trees. I think one of them (Crowley) bolted afterwards, based on the Job minisode, which we'll get to again in a second, and from under a canopy would be the easiest way to just be able to leave during a storm. (They did not spend the Biblical 40 days and 40 nights under that canopy or they almost certainly would have wound up having sex, which the show is suggesting in other scenes didn't happen for awhile after this which is also another meta lol.) But there's also another reason for trees that kind of cracks me up.

Remember when Aziraphale comes back from Edinburgh in S2 and, before he left, they had their whole Our Car/Our Bookshop thing and Crowley's been peeved for a day now over how Aziraphale got to go adventure in The Bentley and he got to wear a cardigan and babysit their former attempted murderer? And about how what he's really playfully irritated over is that he keeps trying to use Operation Shop Lesbians to turn Aziraphale on by mentioning their Vavoomy first kiss and Aziraphale is, kind of hilariously in retrospect, just totally tormenting him by barely indulging him on it? What happens when Aziraphale comes back from his trip?

Crowley-- genuinely-- says "there you are-- I was worried something had happened to you" and he's off-camera for a moment as he does so and the camera is on Aziraphale, who kind of seems like he would like one of Crowley's kisses about now. But what does Aziraphale get in place of where a kiss could have gone?

A face full of plants lol.

In their box, so that when he handed them to Aziraphale, they hung over his head like a canopy.

Don't wanna talk about The Vavoom, angel? Fine. You're just getting the trees. Mwah. *goes to his car and is all did you misssssss me kissy face*

Aziraphale, in old married bitch mode:

Finally, there's that Ancient Mesopotamia is, chronologically, the last scene so far in which Crowley is not seen wearing glasses, which is essential because Crowley-- while wearing his glasses in the pub lol-- describes the key bit of The Vavoom as involving staring into one another's eyes, which Crowley & Aziraphale can't do if Crowley has his glasses on. Since Crowley wears his glasses in approximately 87% of Good Omens, it means that the answer is in a scene where he's either not wearing them at all or could be seen as able to take them off. Mesopotamia meets that criteria. But there's still one more thing that can really hammer home the idea of this The Flood, Part 2 being their first kiss and that's going to be how we end up back at the Job minisode again.

Go back and think of the Job minisode again but now with the idea that the last time they saw one another-- ages before it-- they shared this moment of wildly passionate vavoom and look at how it recontextualizes the entire minisode.

Start with when they first see each other again. Where did *that* Aziraphale come from? He's teasing him.

The Aziraphale in Before the Beginning and in Eden and in the first bit of The Flood that we've seen is more anxious. He's not afraid of Crowley and he's definitely attracted to him but he's distracted by the dangers of what is happening while they're talking. Suddenly, he jumps from the Aziraphale of The Flood to the Aziraphale of the Job minisode. This one is flirtier. This one is literally like all so you never called-ing Bildad the Shuite lol. He's all "last time I saw you was... The Flood?" like he doesn't know and Crowley is all tight nod ohfuckit'shim and also ohfuckit'shimhavemissedhimsomuch and hiding behind his sunglasses-- Bildad is the first appearance of the sunglasses, chronologically, so we go from the Vavoomy gaze to Crowley hiding his eyes... this then all moves into the courtyard scene after a few moments...

Oh, what's this now? The only scene in the whole series in which Aziraphale asks Crowley to take his glasses off? And he does? So quickly-- intentionally-- that his expression from before is still on his face and it's just nothing but naked want like he's saying oh you wondered how I was looking at you from behind these this whole time? yeah, it was like this... Aziraphale is straight up asking for more vavoom. Take the glasses off. Look me in the eye and tell me you want this and yeah, sure, they're talking *on the surface* on *one level* of their conversation about whether or not Crowley is exhibiting serial killer tendencies and wanting to kill small animals and kids but, really, this scene is also the formation of their coded way of speaking to one another. Crowley's "I want to. I long (pause) to kill the blameless kids of Job the way I killed his blameless goats" and then lifting just enough of the magic to let Aziraphale see that he had actually not killed the goats at all but had actually faked their deaths, indicating that that was his plan for saving the kids as well... Well, it also means that *all* of what Crowley just said to him was coded. That's the weird pause after "I long" that breaks it into two sentences. It makes the second level of their conversation that Crowley whipped off his glasses, gazed into Aziraphale's eyes, and said I want to, I long... meaning, I want you, I want to kiss you again, I long for you...

But the bit of the Job episode that sells me on The Flood being The Vavoom is actually the bit just after Crowley miracles himself, Aziraphale, the kids, Jemimah's pot (because he's so not a serial killer, he saved the damn pot lol), the wine (because fuck that little Influencer Brat of Job-- Crowley's not about to kill a kid but he absolutely will drink the last of his wine for treating Aziraphale like a whore lol), and the food down to the cellar and started iguana-ing the kids. Why this bit? Because Aziraphale is fucking giddy and is just tormenting the living fuck out of Crowley.

He's all "I knew it!" and when you first watch the scene, right, you could think he means he knew that Crowley would save the kids. Yet, he already knows that by this point-- that's what the courtyard scene was. That's why he's yelling that he's "QUITE SURE" when Crowley asks him if he is (and calls him "angel" for the first time when doing so) while he's setting everything on fire just a moment before. Obviously, Aziraphale is happy that Crowley didn't kill the kids but what he's all I knew it *smug smile, actually fucking wiggling with flirty joy* about is that Crowley wanted to be alone with him again and would find a way to make it happen because what's the plan? The one that Aziraphale is totally teasing him about?

Aziraphale is going on about how oh, this is *Satan's* big plan, huh? A *big storm*? He loves every minute of it and he also really loves Crowley getting very close to him-- kissable close-- and being all "ooh aren't you brilliant?" when Aziraphale was acting smug. When did Crowley get that comfortable getting that close to him?

But yeah, Aziraphale loving every second of Crowley saving the kids, turning them into sightless/soundless iguanas, and sending a storm over the land for the night while keeping the two of them dry in a little cellar canopy so they can be alone together again-- essentially, repeating a version of The Vavoom scenario, as he'll still be trying to do millennia later... Aziraphale thought that very romantic and had no problem flirtily teasing the hell out of Crowley for it. Crowley's game is as ancient as Bildad the Shuite lol.

So yeah, what we're saying here is that there's a The Flood, Part 2 and that it's likely in S3. I actually wouldn't be surprised if it opened S3, since the first two seasons are opened with the other canopy-themed firsts-- the two first times they met, really, in Before the Beginning and Eden, both with the wing canopy-ing of one another-- so S3 could be the tree canopy and their first kiss. The Flood also seems likely to return because of how it ties thematically to the whole end of the world of S3's Second Coming plot.

One aspect of this theory that I really like is also that it means that Crowley was more female-presenting during their first kiss (which also goes along with the feminine energy sometimes associated with the phrase "vavoom"/"vavavoom") but also that when they next see one another in the Job minisode, Crowley is the more male-presenting Bildad the Shuite... and Aziraphale is really just into all of it. He's just into Crowley, full stop. We already know he is but I like the idea of it tied to their early days and showing it unfold a bit and how it's just all fine by Aziraphale, who just loves this being and is happy to see them and get to be alone with them again. It's very sweet and romantic.

I guess the last thing to say is that if this is true, we're all going to have a field day redoing the psychoanalysis of this bit below, aren't we?

[trans-androgyne]

discrimination against trans men is literally just misdirected transmisogyny, and i don't see how it could be anything else- when transphobes go after trans men, it's just to further demonize trans women and treat them like predators who are going after young girls; if trans men didn't exist, transmisogyny would still exist, but if trans women didn't exist, there would be no systemic discrimination against trans men

Alright, this is a tad long but it’s for the benefit of anyone who isn’t sure about this position and would like my thoughts on it. (adding a TL;DR in the notes for anyone that doesn’t want a couple paragraphs worth of text)

Sorry, but this is a terrible take and not reflective of reality at all. I understand why you might feel that way considering a lot of transphobia directed at transmasculine people ties into transmisogyny against transfeminine people, like in the example you gave. Additionally, trans men do at times experience transmisogyny. However, that is not the majority of it. Even when it comes to the infantilization and characterization of transmascs as mentally ill, delusional young girls mutilating themselves, the cause is not always attributed to trans women. I encourage you to look into the idea of Rapid-Onset Gender Dysphoria (ROGD) as it applies to transmascs and the idea of them spreading a “social contagion” within groups of “young girls.” Transmascs’ bodies are treated as ruined and diseased, more and more the further we transition into masculinity. There is a full transphobic book on the subject focusing on transmascs, called Irreversable Damage: The Transgender Craze Seducing Our Daughters.

It is thoroughly untrue that transphobia against transmascs (transandrophobia) would cease to exist without transmisogyny. This stance leads me to believe you are relatively unfamiliar with some of the unique ways transmasculine people experience transphobia. I can absolutely promise you it is frequently directed at them. Your hypothetical is unrealistic to me, but I want to note: gender non-conformity is still punished outside transmisogyny. Misogyny still occurs outside just transmisogyny.

Fear and disgust at pregnant trans men is not transmisogyny. The idea of “lost lesbians”/“butch flight” is not transmisogyny. The corrective rape of transmascs by cis people as a means of detransition is not transmisogyny. Being called privileged gender traitors trying to climb up a rung in the patriarchy is not transmisogyny. At the least, not nearly as much as it is classic transandrophobia. All transphobia is connected, that much is true. But other types are just as serious and oppressive of systems as transmisogyny. Please seek out a more diverse selection of transmasculine people’s experiences before you try to theorize about their oppression; I think you may find them enlightening.

[realcube]

WRATH & LUST . t.kei / y.tadashi

synopsis ✧ you hate tsukishima kei. you do everything in your power to make his life miserable but nothing works. now you have no choice but to fuck his best friend

cws/tags ✧ college au , enemies to enemies who screw, cursing, slut-shaming (both ways)

parts ✧ i. ii. iii. iv.

your friends call it 'inexplicable hatred', 'misdirected anger' and 'envy' but they couldn't be more wrong.

your feelings towards tsukishima kei were completely rational in your mind. he carried himself as though he was better than everyone and treated those around him like filth, yet he's still tolerated and his shitty attitude is even deemed charming by some self-loathing girls at your college.

it irritates you to no end how he behaves. too cocksure and too sassy; no dignified man should never act in such a manner, you believe. you could go on about other reasons you dislike him — his style atrocities and his punchable face, to name a couple — but you shan't.

you intended on going about your life, simply hating him from afar as you didn't see the need to stir up petty drama. but he made it impossible for you to do so.

one day he was sat behind you in a maths lecture. the seats are tiered so he is slightly higher up than you are. while making notes, his pen slips out of his hand and tumbles forward, landing somewhere under your desk.

you do the polite thing by making an attempt to search for it, but it is dark under the table you can't seem to find it.

a couple moments pass, and he remarks lowly, "are you just going to stare it?"

white hot rage courses through you at his comment. what ever happened to 'please'? to 'would you mind'? you were about to do him a favour by fetching his pencil and he still has the audacity to be snarky.

fuck that, he can pick up his own damn pen. you leave it alone and try to focus on the lecture.

you make it through the whole thing without him bothering you again, probably using a spare or borrowed pen. once the class has been dismissed, you gather your things and wait for the people in your row to start filtering out so you can leave, that is when you feel a gentle tap on the shoulder.

you turn around and lock eyes with a tan, freckled boy with mousy brown hair, he wears an awkward smile and point to your desk, "excuse me, my friend dropped his pencil and i think it landed under your desk. could you get it, please?"

his voice is meek and demeanour similar to that of a shy puppy, which is why it almost pained you to scoff at him and say, "tell your friend to stop being such a cunt, then maybe."

you rush out of the door, keen to get as far away from those two boys as you can. yet as you leave you hear the blonde's voice mutter in your wake, "what a moron."

after marinating on the situation during the retelling to your friend group, and a group vote, you came to the conclusion that perhaps your response to yamaguchi — you learned his name from one your friends — might have been a bit severe. but in your defence, you were peeved by the comment tsukishima had made prior.

it's as though manners and etiquette are totally lost on him.

ೃ⁀➷

two weeks passed since your last little altercation with tsukishima, and you were proud to say you haven't been involved in any conflict with him since then. mostly making snide remarks in passing or exchanging dirty looks in the hall.

however, that all changed when your professor was late to one of your classes. they expressed in the past that they prefer students to wait outside the lecture theatre when they aren't present, so naturally this caused many people to be clogging the hallways.

there was a long queue of people waiting to enter, you stood far away from the door, while tsukishima and yamaguchi happened to be standing opposite. you couldn't help but notice the outfit tsukishima had on: skinny light brown trousers with a black belt, and a pressed short-sleeve white shirt, that was a bit see-through.

you didn't know much about this guy but from his slightly toned figure, which was made apparent by his choice in clothes, you could tell he does some sort of sport. probably basketball, considering how tall he is, but maybe golf. he acts like a golf player.

lost in thought for too long, your finally yanked out of your own internal monologue by a familiar voice snapping, "what are you staring at?"

you blink, and before you even have time to process what he just accused you of, you blurt out, "has anyone told you that you're dressed like a slut today?"

yamaguchi must slap a hand over his mouth to suppress his burgeoning laughter. tsukishima's eyes narrow at his friend's offensive display, before they snap back to you and he argues, "really? me? i'm dressed appropriately. take a look at what you're wearing."

he motions to your outfit: jorts and a tank top. maybe not the most stylish choice but definitely not as whorish as his attire. "it might be more revealing but still not as slutty as you."

he rolls his eyes like what you said was contradictory, wearing smug smile. he wants you to believe what you said is nonsensical and 'proved his point' but all it does it anger you to no end.

not fond of his facial expressions, you retort, "don't pull stupid faces and play dumb. you're already dumb enough as is, so it isn't a very becoming look on you."

with furrowed brows, he opens his mouth to say something, but you cut him off, "and i can see your chest through your shirt. no one wants to see that!"

"you say that while your tits are out, have some self-respect."

"at least i have tits. you're wearing a short sleeve to show off the muscles you don't even have!"

yamaguchi is thoroughly entertained by this squabble, which is why it pains him to chime in, "uh, tsukki. the lecturer is here, let's go."

as much as he wanted to get the last word in, tsukishima glances between tadashi and the empty halls before he decides his education is actually kinda important and begins to make his way inside the theatre. it was good timing because he didn't have a witty response anyway.

your heart is beating rapidly, though you're unsure why. you gaze at the empty walls for a minute to collect yourself before heading into class as well. you totally won that fight, is what you tell yourself.

ೃ⁀➷

ever since the disagreement you had with tsukishima in hallways of the maths building, what was once comments and glares has escalated to threats and insults being made boldly in each other's face.

despite the fact you ate him up the first time, you've been on a losing streak since then. you feel as though nothing you say gets under his skin anymore.

you've tried belittling his face, his smarts, his personality, his mother but nothing seems to work. you even tried to ridicule his glasses but that didn't work either!

"hey, four eyes!"

"hey, five guys."

what the fuck? you weren't sure if that was a dig at your diet, your weight or your quantity of sexual partners but regardless, you could not let that slide.

verbal abuse wasn't working so naturally the next option was physical. you attempted to trip him in the halls but his legs were so long he stepped over you without even noticing. you attempted to pour milk over him but tadashi noticed and pulled him out of the way. you considered pushing his knees while he was standing in front of you but you realised that if he fell backwards his weight would crush you and you'd probably die.

all of that was so elementary and childish though; high school bullying at best. you need college level bullying. you thought about planting weed in his bag and calling the campus police on him but your friends said that was 'too far'. you thought about leaking his nudes but firstly you don't have them and secondly, he's already walking around college half naked anyway so he likely wouldn't be phased by it.

the hard thing about trying to torture a boy like tsukishima is you don't know enough about him to know what will truly drive him insane. you know he cares about his grades but sabotaging his test scores is beyond your means. he doesn't have any dignity so you can't humiliate him. even if you tried, his little gremlin of a best friend would probably catch onto you anyway.

that green haired boy was just as bad as his handler. always gawking at you to make sure you don't try anything; literally glued to tsukishima's ass at all times — it's so gross. and it gave you the most disgustingly perfect idea.

[demigods-posts]

Idk if I’m thinking about this wrong… but was it even possible for Thalia to be the Hero of the Great Prophecy?

I know that by the end of The Last Olympian, we know that the prophecy could be interpreted differently, but we also know that until the prophecy came to pass, it was taken to be about one child of the Big Three who would die because of the line ‘a single choice shall end his days’. Annabeth, Chiron, and most people generally interpret this as Percy, as the hero, dying.

But obviously the key word there is his. And since Thalia identifies as female, and going based on the presumed interpretation that the prophecy foretold the death of a child of the Big Three - the him whose days will end - then in no world could Thalia have been the hero of the prophecy, and neither could Bianca.

Spoiler:

Throughout the books, it is drilled into our heads that deciphering a prophecy before it is complete is nearly impossible because the lines could mean anything. As you've said, The Great Prophecy centered around a half-blood of the eldest gods with a line saying 'a single choice shall end his days', making it seem like a child of the big three gods is a boy who is destined to die. However, once the books reaches it's end and the prophecy comes to pass, we realize that:

• 'A half-blood of the eldest gods' lacked the mention of a specific gender, but was indeed referring to Percy since Bianca died, Nico was too young, and Thalia opted out last minute.

• 'A single choice shall end his days' was referring to Luke, who made the choice to stab himself in his Achilles Spot, ending his life and thereby stopping Kronos from rising.

In other words, had any of the remaining big three kids been of age and made different choice, it very well could have been any one of them. Everyone was just fixated on Percy because he is a half-blood of the eldest gods and is a boy, so he seemed like the perfect candidate. It's a clever misdirect by Rick, so I don't blame you for being confused lol

[n3xii]

Today's reading will focus on:

-your greatest strengths and abilties

-your "weaknesses" and how they can be leveraged to be skills. you have three pokemon cards to choose from.

CARD ONE

strengths and skills:

when I look at your cards I feel like im looking at someone who has been at rock bottom and knows how to talk themselves (and others) out of a low point. You know how to extract lessons from situations others would see as a ''failure." in your world giving up doesn't exist, any "failure" is just a bigger, overarching lesson that helps you get closer to success. I feel like one of your strengths is being able to see things from both a higher perspective, and as the perspective of someone who has been at rock bottom. Its like you have both a helicopter view of a situation, and a on the ground view as well. This dual understanding allows you to help other people on a deeper level where no one else has been able to reach them. you help others understand their situation from a higher perspective but also from the perspective of someone whos ''been there.'' this skill reminds me of a Lenord cohen lyric where he describes Jesus, "and ..he realized only drowning men could see him." You can connect with people who have never had anyone meet them where they are, because you know how to guide them out of the waters. you have birds eye view which provides a greater understanding of a turbulent situation and its purpose without loosing sight of how it feels to be at ''rock bottom" on a personal, intimate level.

weakness and how it can be a strength:

Your weakness has to do with maintaining objectivity and balance. because you know so intimately how others may feel when they are at rock bottom, maintaining the boundary of not accidently going back down can be something that hinders you. But at the same time, this can be a strength in the sense that you feel very strongly for them, you want to stand up for them and find a fair conclusion. Your sense of justice may make your biased at times, but it also makes you motivated

CARD TWO

your strengths and skills

you can see beyond LIES and MISTRUTHS, you're someone who sees through anything thats unclear and confusing. you know when someone is trying to misdirect you and to confuse you, you have an uncanny sense of when something isnt adding up. i also feel that you can cut through extra details and bluff to get to the point of something, you dont mince words and you communicate very well regardless of the medium you choose.

weaknesses and how it can be your strength

you may not come from money, or you may not come from a background that gives you a soft cushion for you to fall back on. lacking a solid foundation may be something you consider a weakness about yourself, but this is actually something that can be your biggest strength- i know many people who come from BIG money. im talking Mercedes car before they even got an official license. Their privilege does help them in life. HOWEVER, they have no work experience, no applicable skills, no understanding of what its like to work 8-12 hours a day. they have never made a resume as they have literally never worked a job. I used to think this was something to envy but then I realized something pivotal: when their main providers die and that foundation goes away, they will have to learn skills many of us learned at 15-16 years old in their twenties or even thirties. that sounds like my worst nightmare.

when you dont come from that type of comfort, you have to learn to rely on yourself. this is a strength that makes you more powerful than alot of people in this world because you know how to build your own stability instead of having it provided for you. you will create your own legacy.

CARD THREE

strengths and skills

im getting the sense that you're very good at entertaining yourself, you have a magnetic sense to you that could attract others to you but its like you prefer your own company. Your passions, creativity and humor are enough to supply you with enough entertainment for a lifetime. you dont rely on other people to do this for you, you know how to make yourself laugh, how indulge in your passions, how to make yourself smile. You are your own sun, literally, my intution compared you to the sun lol

your weakness and how it can be a strength

you're very analytical, alert and aware of your surroundings. this may make you overly cautious, anxious but at the same time, its a strength to have the awareness that you possess. You're quick and on your feet, its difficult to catch you off guard. your focus may be pulled in several directions at once, but still, you have keen senses. I feel like you process stimuli very quickly, its may be a weakness in the sense that its hard to process it all at once, but it also makes you very difficult to catch off guard. You notice details others wouldnt, you hear things others cant.

[tarjapearce]

Omg, your asks are back open, I just want you to know that I can’t stop thinking about your punk miguel post god damn. If you could write some more of that that would be very cool 🥺👉👈 Only if you want to though!!! I love you

art by @bumbleboots_art on Ig

Warnings: Angst, mild physical assault, fluff, suggestive towards the end.

Miguel

Punk Miggy

Pt. 1

Ever since Miggy appeared through a portal into your lives, things had been chaotic.

You needed to believe things were chaotic good, but with two Miguels you truly didn't know what to expect. Your grumpy faced Miguel often barked orders with a strategy in mind, while Miggy just gave in the heat of the battle and things somehow ended up working.

But at the end of the day everything resumed into a bunch of

"Te dije que hicieras caso!" (Told you to obey)

"I obey orders from none. You specially"

God, as handsome as they were, they were annoying. The constant clashing had also played a huge part in your almost-lover/boss situationship with you. Everytime they bickered like loud vexing parrots, you left them be.

At the begining it was fun to watch them rant and banter, but as things evolved into something more tense and borderline dangerous, your own share of mental force was drained.

You barely hung out with them anymore, adding to the already snapping short temper of your Miguel.

Miggy looked suspicious, and truly wondered if things had been too much for you to not be around.

His eyes however widened in knowing pain as a flurry of memories paraded on his mental runway. He watched Miguel, or at least another variant of him, having and enjoying a little girl he knew so well. Little Gabriella.

"Stay away" He growled, but how could he?

How he could do such thing when another variant of his little girl was there, happy on his shoulders, freshly out of a soccer game.

His own Gabriella loved hearing him play the guitar, just as much as he loved serenading her. His Gabriella loved to make patches for him to add at his jacket. The two had matching patched up vests. In every universe his little girl was beautiful and loved. Like it should be.

"I fucking told you to stay away!" Miguel growled as his punk counterpart held his hands in defense while dodging a hurling chair thrown his way

"I lost her too, Y'know?" Miggy laid on his chair as Miguel grabbed him by the collar of his vest. Fangs bared, tight grip and nose flaring.

"I miss her too."

With a grunt, Miguel let him go.

"You don't know what you're talking about."

"C'mon, jefazo. You might fool everyone under your command. Even our princesita. But you don't fool me. I am you, remember? Estás bien pendejo si crees que puedes engañarme." (You're stupid if you think you can fool me.)

"She's a constant reminder of what I do." Miguel pointed at the screens, "And why people should fucking follow orders."

Miggy rolled his eyes and sighed.

"Could you shop talking about work second for a moment? Let's focus on-"

"She's gone. Nothing to focus on, besides the multiverse."

"I know what it feels like. To suddenly lose-"

"Tu?! Tu no tienes ni una puta idea de lo que se siente!" (You had no fucking idea to what it feels like!)

Miguel roared, as Miggy frowned with a scowl only to his chest to bump against his, retaliating.

"¿Crees que no, cabrón? I lost her due an asshole policeman doing a misdirected gunshot just cause he mistook me for a criminal. He shot in the air, and it got her. It was aimed at me!" (You think I don't, dipshit?)

He palmed his chest before ripping the velcro patch Gabriella had made for him and tossed it on his hands.

My favorite Rockstar

"You fucking think I don't know how powerless you'd feel while watching your little girl dying right before your very eyes?! "

"Al menos tuviste algo que sepultar." (At least you had something to burry)

Miguel mumbled and his punk counterpart stilled.

"She vanished in my hands." Red and blue clad shoulders slumped heavily. A burden he still carried to this day.

Silence stretched for a bit too long, before Miguel sighed and turned his back on him.

"You stepped in when none wanted to."

Miggy rubbed his neck as he offered his best comfort words.

"That's what a real father does."

Miguel cleared his throat and turned to face him "We wished we could save everyone."

"But we can't." added Miggy with a solemn face.

"Now you understand why I do what I do?"

"I've always understood that, though guy. Still, is fun to give you shit for it"

Miguel dismissed him with a roll of his eyes, but a newfound level of mutual respect settled between the both.

"Specially when our princesita was caught in the middle of our antics."

"Again, there is no ours in here. Give her space."

"I think we've given her enough of it."

"No."

"Yes"

Miguel grunted, annoyed as he followed him.

-----

"No, no, that's not how you do it."

"It's my turn, I kiss her however the fuck I want to."

Bossman Miguel spoke as he cupped your reddening cheeks, making your flushed lips, that glistened over a new make out session invited him to deliver another desperate and breathless kiss.

Meaty lips guided yours in a pace you've grown to know well, just as Miggy nuzzled your neck playfully. The tip of his nose roaming up and down, for him to give a gentle nip at your earlobe.

You groaned into Miguel's mouth, and whimpered as you begged for air.

How had you ended up in this predicament after such a parkour of emotions displayed between them? Lyla had shown you their conversation, glad at least they learned how to share something that found them a common ground.

And then Miggy had waltzed in your work bay, smothering your lips with a breathtaking kiss as an apology for the troubles caused and it only triggered Miguel, that showed him what a real kiss was.

And now it all resumed into this moment. The three sitting on your couch, that sometimes acted as your bed, taking turns to make out with you.

Miggy's turn arrived as he turned your face, placed a gentle hand on your cheek and kissed you. It was soft and chaste at first, but then his tongue pried your mouth open. Soft and moist muscles fighting for a chance to top you, and he did.

Earning a lovely and delicious mewl from you. Rough and calloused hands roamed up your sides and waist

"Let her go, that's enough"

Miguel grumbled as he had to pry away your needy lips from his counterpart.

"Who did it best, cariño?"

Your head felt like it had detached from your body and floated like a balloon as your Miguel nipped at your neck softly and Miggy mumbled the sweetest things to your ear. You certainly couldn't decide, even if your life depended on it.

"A tie."

Both scowled.

"Guess we'll have to find out differently, then."

Miguel's steely stare fixed on you with a suspicious glint in his eyes, as Miggy licked your earlobe.

Where were the anomalies when you needed them the most?

You gulped at your ongoing demise.

[thisisnotthenerd]

statting out the rat grinders

this analysis is based on what we've seen of the rat grinders and their abilities in ragenarok. a few assumptions: if we follow my original xp analysis of the rat grinders that puts them at a comfortable level 19. however, we know that they've been doing far more than that, and that they may be unevenly leveled.

we know from the adventuring party that they have 20th level class/subclass features, without the benefits of leveling through it: no ASIs or feats, no additional hit dice, no hit points reflecting 20th level. the rat grinders are glass cannons to the extreme. i would guess that their stats and hit points are roughly equal to the bad kids at level 14, which leaves them vulnerable to being taken out within a round or two: if they fail a couple of saves they're stuck. what they do get is high level spell slots and the improved proficiency bonus for their best skills.

i'm presuming that the rage stars have this effect; granting access to power that your body can't support, using rage and deep emotion to sustain this state. they're functionally equivalent to the bad kids, given the bad kids' other resources and tactical cooperation. the bad kids do big damage every time because their resources are more measured--they don't have a 9th level spell to drop on the first turn.

kipperlilly copperkettle

class: mastermind rogue

level: 20

estimated hp: unknown (21 damage taken)

abilities: 10d6 of sneak attack, expertise to stealth, bonus action help, insightful manipulator (read for abilities), misdirection (move attacks to others in your space), reliable talent, soul of deceit (mind can't be read), elusive (no advantage against you unless incapacitated), stroke of luck (turn a miss into a hit/check to a 20)

commentary:

i can believe she's a level 20 rogue based on her damage output. i don't think her weapon is enhanced, so it's likely not adding much to her output. riz regularly does more damage because he has magical enhancement to his weapons.

she seems more like an assassin rogue than a mastermind--she does a lot of sneaking around the battlefield to get the drop on people. she could have thrown bonus action help but stayed out of range despite having ranged options. she also doesn't have magical means of her own to hide, presumably because she wasn't using it during this fight. not much on her hp at the moment, but i'd guess she's squishy based on her strategy.

buddy dawn

class: light cleric

level: 20

estimated hp: unknown (75 damage taken)

abilities: full suite of spell slots, warding flare (impose disadvantage on an attack roll), channel divinity, potent spellcasting (wisdom modifier added to cleric cantrip damage), divine intervention, corona of light (enemy disadvantage against fire/radiant damage)

commentary:

buddy has spent two turns of this battle holding concentration on a banishment and trying to dispel a slow on ruben. not really doing too much to help his party. he could have healed oisín but didn't. it speaks to their priorities as a group that he wasn't healing. he was there to banish the poll box and participate in the ritual, not really as a functional combatant.

honestly he's the purest example of what the rage stars do; they can give you power, but that means nothing if you don't know how to effectively use it. buddy hasn't protected himself or his allies at all

ivy embra

class: gloomstalker ranger | arcane archer fighter

level: 11 | 9

estimated hp: ~78 (78 damage taken)

abilities: action surge, hunter's mark, dread ambusher (extra attack on first turn), extra attack (1), iron mind (wisdom save proficiency), 4 arcane shot options (2 uses), indomitable, land stride (no difficult terrain), indomitable, stalker's flurry (on a miss you can make another weapon attack)

commentary:

i split her at 11 | 9 because we know she doesn't have 2 extra attacks, and she attempts stalker's flurry but fails. the arcane shot she used (halving an opponents speed with a con save) isn't technically a standard arcane shot option.

she really doesn't have the hit points to suggest she's 20th level. even assuming no bonus to con, average hp from from 20d10 (10 from ranger, 10 from fighter) would be 110. it's closest to 14d10 with no con modifier. also this would put her on even ground with the bad kids. this is what i used to estimate the rat grinders being similar to the bad kids.

oisín hakinvar

class: conjuration wizard

level: 20

estimated hp: ~90 (121 damage taken)

abilities: full suite of spell slots, arcane recovery, minor conjuration (summon an object), benign transposition (30 feet teleport swapping with a small/medium creatures), focused conjuration (concentration can't break on conjurations), durable summons (all summons get 30 temp hp), spell mastery and signature spells

commentary:

even though he died before his turn, i can believe oisín is a level 20 conjuration wizard, based on what we saw at the party. i'd guess what he did is some sort of ritual on top of a control weather.

hp-wise he falls in the range of for 14d6+40 assuming he has +2 to con. it works on the high end. i'd guess his actual total is lower than the damage he took, since brennan said he was on death's door after taking 86 damage, so i'd say no higher than 90, even though he took a total of 121.

ruben hopclap

class: whispers bard

level: 20

estimated hp: ~75 (75 damage taken)

abilities: full suite of spell slots, bardic inspiration, psychic blades (psychic damage from weapon attacks), words of terror (1 minute to seed paranoia), mantle of whispers (steal shadows of the dead), magical secrets, shadow lore (charm a creature for 8 hours)

commentary:

the only spellcaster of the rat grinders to actually use their high level spells in this fight, with the psychic scream that didn't stun the bad kids. he actually did get both spells off despite the slow, but couldn't counterspell or grant inspiration.

hp-wise he's in the normal range for a 14th level bard at 75. he did roll nat 1s on both the slow and the fireball saving throws, and failed synaptic static by 1. man is bad at saving throws.

mary ann skuttle

class: berserker barbarian

level: 20

estimated hp: unknown (52 damage taken)

abilities: rage, frenzy, mindless rage, intimidating presence (action to frighten a creature), brutal critical, resistance to psychic damage, relentless rage (drop to 1 while raging instead of 0), persistent rage (rage only ends if unconscious), primal champion (STR & CON go up by 4, for a max of 24)

commentary:

we haven't seen very much of mary ann--she got slowed and then couldn't effectively get anywhere for 2 rounds of combat. i'm excited to see what she has in store. i'm guessing she has more hp than the rest of the party by virtue of being the barbarian, but as a berserker she only halves bludgeoning/slashing/piercing, and the bad kids have a lot of other damage types that they work with.

i'll be back with more next week: covering the gaps in this analysis and maybe hitting jace and porter.

[idyllic-affections]

thoughts on lyney and lynette rn bc i would kill to see little sibling reader with them ,m so normal about them i swear i just dnfgohpjykul

the blood of the covenant.

summary. blood related or otherwise, lyney, lynette, and freminet are among the best siblings to have.

trigger & content warnings. non-descriptive mention of injuries, lyney does Not open up and it causes arguments (not depicted in detail; just briefly mentioned), some mentions of crying.

tropes, pairings, fic length, & other notes. fluff, hurt/comfort. lyney & younger sibling!reader, lynette & younger sibling!reader, freminet & younger sibling!reader. 2k words. they/them pronouns used for reader. reader is a member of the house of the hearth. reader is only slightly younger than freminet; think a month or two younger.

author's thoughts. almost 6 months later....... your wish is my command 🙏🙏🙏🙏🙏 SORRY IT TOOK ME LIKE A MILLION YEARS TO DO THE AQ...... AND I STILL HAVE ACT 5 LEFT TO DO...... but i think i'm well-versed enough now to write about the twins! and freminet... as a little treat.

lyney is an undoubtedly protective older brother—he doesn't mean anything bad by it, but given his traumatic history and multiple forced partings from lynette... he's grown a bit worrisome. this effect is increased tenfold if his youngest sibling [name] also happened to be sold off to that noble with lynette.

being the eldest means that he is solely responsible for the safety of his siblings (or so he believes—arlecchino herself feels that it's more of a team effort to keep one another safe on missions and in daily life). so, he worries. he knows that all of his siblings are thoroughly capable... but he worries.

tight hugs. god. lyney gives tight and safe hugs. lynette leans more towards fond squeezes—briefly tight, before loosening up into a more gentle hug (she can and will squeeze even tighter than lyney some days, however). and freminet is more prone to hand-holding, little reassuring squeezes akin to lynette's but with [name]'s hand instead of their whole body, but he'll also offer very gentle and soothing hugs if needed.

^ speaking of freminet's inclination to hand-holding, he might clutch their hand if he gets nervous about something... and if they also happen to be a bit shy, as he is, he'll try his best to be as confidently reassuring as lyney is (it doesn't work, but it's the thought that counts, no?). his hand is always open to be held too, though, so if that calms his sibling down... he's more than happy to let them cling onto his hand for a while.

"Are you scared?"

"A little," they murmur quietly, fingers absentmindedly plucking at the threads of their sleeves. "Always a little on missions like these. It doesn't stop me from doing anything, don't get me wrong. I just get... nervous."

Freminet hummed, a soft acknowledgement of what they said.

Then, he held out his open palm, continuing, "Then... you can hold my hand. Until we have to do our jobs."

A bit of their confidence was restored—Freminet could tell, based on the way their downcast expression shifted into something more... neutral. Something more capable of disguising the threat of impending doom, in a way, but he knew that threat was not something for him to worry about. That threat was not for him.

(Some other threat, far more visible on their angry face accompanied by something along the lines of 'Freminet I am going to kill you where you stand Lyney said you ate my leftover food why would you betray me like this' was more likely to be for him.

For the record, Lyney was most certainly a liar. Freminet did not and would not do such a thing to them.

Magic is all about misdirection and trickery, after all. Of course Lyney managed to both misdirect and trick his baby sibling into accusing his other baby sibling of a crime he himself committed.)

They nodded, vastly more confident and assured in themselves, before clasping his hand securely in theirs. His fingers intertwined with theirs, and his thumb absentmindedly ran across their knuckles. "Until we have to do our jobs."

lynette will sneak them sweets when lyney isn't looking... or, tbh, even when he is looking. he scolds her for it every time, but she continues to do it. his chiding has never stopped her before. why would it stop her now?

lynette will also try all kinds of deserts and teas with them!! it's like a bonding activity, in a way. perhaps she and [name] create a little tier list to note down the best bakeries in fontaine and the worst.

"What do you think of this place?"

"Mmh... I don't know." They leaned over to Lynette's side, whispering their secrets ('secrets' meaning criticism that they were too polite to let the bakery owner overhear) into her ear. "Their sweets are kind of... bitter. Maybe the baker was having an off day? I don't know, but it's... not great."

"To the bottom of the list, then," she said simply with no attempt at discretion as she took a sip of her tea. She must have agreed with their criticism, given that she offered no words in defense of the little bakery.

"A— ah?! Lynette, shh! Don't say that so loud!"

kisses!!!! lyney just thinks his baby sibling is the cutest, so he'll fondly pepper their face in kisses if they're okay with it <3 lynette also does this, to a certain extent. it isn't to lyney's level, though. she is far more calm and restrained about it. she may, however, be very inclined to squish their cheeks like a fond grandma might.

it seems... calming for her? she seems to enjoy pinching their cheeks, even if her expression does not show it. maybe it could be compared to a cat kneading its owner. she's also quite fond of giving them headpats for any reason, really—for expressing approval, offering comfort, reassurance...

(it is likely that she picked up said habit from arlecchino.)

anyways.

neither of the twins smother in a belittling way. if [name] is seriously upset by something, or has something of great importance to share (intelligence collected on a mission, perhaps), they both take it very seriously... and if the twins somehow fail to do so, they own up to it.

freminet would be so happy if they wanted to go diving with him! and if [name] happened to dislike the ocean, he would understand, but would want to help them overcome such a fear. he's never going to leave them alone in the water if they're scared. there's nothing to be afraid of, he reassures quietly. why? how is there nothing to be afraid of? well, he will do his best to protect them. he will not let anything bad happen to them.

^ furthermore, freminet would also really love to sit in silence with [name] and toy around with machines and their inner workings. if his sibling isn't adept at it as he is, then he's more than content to quietly teach them and direct them on what to do and how to do it. perhaps there might come a day where they help him out with upgrading pers—whether that be by simply propsing an idea or executing that idea themselves on another machine (it would be so... wrong of them to do something to pers without his explicit permisssion) to visually display what they're trying to explain.

lyney and lynette use their two youngest siblings as something of a practice audience; it helps the twins work out any issues with their tricks, and as a bonus on lyney's behalf, he generally gets to see his little siblings [name] and freminet smile <3

on a more unfortunate note, lyney is notorious for not opening up and not relying on others. this may lead to intense arguments or spats... he may often neglect to apologize verbally (he cannot promise that he won't do it again; he doesn't want to lie to them like that), but he will apologize in other ways—a sudden increase in meaningful gifts for his little sibling, treating them to a meal or multiple meals of their choice, doing menial house chores for them so they do not have to... things of that nature. he feels bad, but he can't act like he won't do it again. he knows he will. lyney is just grateful that [name] is patient with him through it all.

Held out in front of them by their eldest brother was a takeout box from one of their favorite bakeries; he must have asked Lynette about it, they vacantly thought. Taped securely to the top was a Romaritime Flower. Loyalty... was that his way of reassuring them that these little things would not ever truly impact his relationship with and his care for them? They, again, mused that he must have gotten it from one of their other shared siblings—Freminet, if they had to guess.

They frowned. "Lyney..."

He looked a bit worried now. They felt a little bad for inducing that kind of anxiety, but they did not waver. "Do you not like it?"

"I do. It's not that," they reassured, shaking their head as they gingerly took the box from his hands. "I just wish you could rely on us more. You wouldn't need to go through all this trouble to apologize if you just... relied on us. All of us, Father included. That's all."

He doesn't say anything to that.

They gingerly set the gift down onto a nearby table. Then, they turn back to their brother and—to his surprise; he assumed they were still upset with him—wrapped their arms around his waist, head resting on his shoulder. His hands were frantic as they scrambled to secure their place around [Name]'s shoulders.

Lyney squeezed. It wasn't tight enough to hurt them at all, but it was tight enough to put a bit of soothing pressure on their body. Maybe it was another way of his to apologize wordlessly, without committing to the promise of never doing it again, or maybe he was just concerned that they might not forgive him this time and subsequently relieved when they did.

(He should know better after all these years, but... really, what kind of a brother might he be if he didn't worry about making amends with his younger sibling after doing wrong to them?)

It was silent for a moment. They simply basked in the warmth their brother provided, while he basked in the newfound freedom from the weight upon his shoulders that their forgiveness provided him with.

...

Then, they whispered, "You know I love you, right?"

He didn't have a chance to respond before they swiftly untangled themselves from his embrace, swiped his hat from atop his head, and darted out the front of the building that they were in.

Oh, so that's how it is.

He smiled fondly to himself as he waited, offering them a brief headstart.

He would catch them eventually; he always did. However, as Fatui agents... this little game of theirs, some variation of cat and mouse, could go on for hours—days, even, if [Name] happened to be taking it especially seriously.

Well, then. He may as well entertain their whims and antics (and really, they probably got it from him, so he has no right to complain about the monster he made; he often did things of this nature to all three of his siblings, and he had been doing this with them specifically since they were little).

It's the least he can do, he thinks.

lynette can often tell right away if something is wrong with [name]. she notices even the smallest things. at a moment's notice, she is ready to sit at their side and brew tea to share. if they want to talk, she is more than happy to listen, humming quietly every now and then to remind and reassure them that she is paying attention.

should one of [name]'s missions ever go wrong, ending with them injured... their three siblings are by their side as soon as possible, and lyney's probably first, followed shortly by both lynette and freminet.

they all want to know what happened, of course, but they don't push it if [name] isn't feeling up to the task of talking. their health and comfort always comes first.

freminet will offer pers as comfort, if they need something to hold that isn't a pillow. it tends to make him feel better, so maybe it will have the same effect on them. he does this whenever they're hurt—mentally, physically, or otherwise. if his sibling is in pain, he'll do what he can to help.

and if tears are shed... archons, they're all so worried :(

tears will never be shed in front of father, of course, but... it's different if it's in front of their siblings. none of them cry often—even very rarely in front of one another—so it is certainly worrisome when it does happen.

and though tears are rarely shed in front of one another, lyney, lynette, and freminet are all more than ready to help soothe the soul of their youngest sibling, regardless of whether that means letting them rant their heart out or simply sitting in silence by their side.

please consider reblogging and leaving kind tags or comments, it helps me out quite a lot!

[raven-at-the-writing-desk]

Out of curiosity, do you happen to know why Jade is so secretive about himself? I think it's no one's surprise when I say that Jade is more often than not secretive/guarded about himself. Jade is a master in hiding his emotions/thoughts. And even when he's revealing any information about himself; I feel suspicious about it.

So i always wondered why he's so guarded/secretive about himself? It's either the trope "intriguing mysterious character" going or he genuinely has a reason why he likes to be in control EVEN with his own feelings. Maybe it's a Merfolk thing? Maybe he's scared of being vulnerable?

At the end of the day, it's only speculation why he's the way he is. I think the only genuine thing we know he likes is mushrooms.

What do you think?

Know? No. I don't think anyone really "knows" why Jade is secretive about himself. Maybe not even the devs themselves know!

Let's speak in terms beyond the trope he fits into; I feel it can be reductive to say, "the character is this way because that's what he's supposed to be by design!" To begin with, I don't think it's a merfolk trait because we do not see the same characteristics in his twin (who openly blurts out secrets, including his own UM) nor in Azul (who technically is also secretive, but has a backstory which explains the insecurities behind his behavior). I also would not frame Jade's mysteriousness as a matter of being "scared" of vulnerability. Yes, he does not like to be in situations where he is vulnerable or others can take advantage of him. However, I don't believe this disdain comes from a fear of intimacy or of showing others his "true" self. Jade has made clear that he finds it easier to manipulate others and to gain their trust if they perceive him to be a non-threat. (Look no further than his Ceremonial Robes vignettes, where he tricks a fellow vice dorm leader, Trey.) It’s also true that he enjoys teasing others and purposefully dropping vaguely worded phrases to alarm them—this is how he has fun, and he maintains this with people he is close with (Azul and Floyd). Is it considered “not being himself” when he is still calm and mysterious with them? Personally, I don’t think so. He’s being open with them in his own way.

I think a lot of the ways Jade acts can easily be attributed to his upbringing. We've received several hints that the Leech brothers' father is quite wealthy and influential, and may be involved in shady dealings. Furthermore, he and his twin grew up in the Coral Sea, which is described to be frigid and boasts dangerous creatures such as sharks. Jade was therefore raised in an environment where self-preservation is a priority and he was taught many skills to adapt to his surroundings and any scuffles he may get into (from martial arts to lock picking and undoing knots). If we run with the popular “Leech mob family” theory, their father would have enemies and even business associates trying to get a one-up on Papa Leech—possibly via his sons. Jade would have to be pretty alert and capable to deal with such encounters. It’s also these situations which may have led to him forming a distrust towards most others or feeling a need to conceal or misdirect his real thoughts/emotions. (Anyone could be an enemy or trying to use him for their own means.) This thinking could have developed into a kind of coping mechanism in which he is the one to first outdo and betray the other to prevent being the victim himself. He likes having the leg up on others; that control is a “security blanket”. It can be interpreted like a survival tactic that translated over to land after so many years of living in a treacherous sea.

I also believe that this background has had an impact on how Jade’s hobbies and other behaviors. He has explained before in his Birthday Boy vignettes that he likes terrariums because the management aspect gives him a sense of control, which is relaxing. He also tends to be an enabler and not intervene if he thinks the situation is funny or engages in it himself (such as when Azul is being teased), which are more subtle ways he entertains himself. Thus, Jade more often than not doesn’t act overtly and maintains that “support” role both in an effort to divert from his own shadiness and as the result of his upbringing in which he has to be alert for survival.

Now, the big question you’re probably having right now is “But what about Floyd?! Why doesn’t Floyd turn out like Jade if they basically grew up in the same environment?” Well, that’s simply because they’re their own people (something Floyd himself states) even if they are twins or related otherwise. Growing up in the same household and neighborhood does not guarantee you will have all the same interests or the same personality as a sibling. Floyd learned, adapted, and reacted differently than Jade did. He’s the upstart, the loudmouth, the one to jump to violence as a solution. Jade is not.

I really love the mysterious aspect to Jade. Sure, it feels like we cannot entirely trust anything he says, but I feel that’s part of his intrigue! I like trying to parse out what’s true and what’d false in his dialogue 🫶

[eldest-of-katts]

okay because people have shown up in my dms talking smack I'm going to make one blanket statement on the 1000 year loli chilchuck thing.

yes, there has been a problem with young girls being put in suggestive positions in anime with the "uhmmm she's actually a bajillion years old" excuse. yes, other characters don't treat chilchuck like an adult. yes, he is short with big eyes.

However, chilchuck consistently acts like a grown man. he- in both the manga and the anime- straight up just is an adult. He looks like an adult when he is any other race during the swaps in the manga. When the other characters get turned into half-foots they look similar to chilchuck. He is explicitly stated to have more dungeon and general life experience than laios, and he acts like it.

The 1000 year loli trope explicitly functions as an excuse to prey on people who are inexperienced and unable to advocate for themselves. Chilchuck is a parent, is a union organizer, has explicit boundaries that he enforces rigidly, and he is treated as an adult man by everyone who doesn't have a fantasy racism-focused character arc/issue.

I can see how if you haven't read the manga and seen that he has an established life that he later reveals (and haven't paid attention to him in the anime lol) you could get a mistaken impression about him. Marcielle does too in the source material! It's part of her character at the start of her arc that she has issues with longevity!

The thing that irks me a little about this interpretation is that it leans into the child-coded discourse that was prominent a while ago (she's short!!!!! but has boob???? ILLEGAL!!1!) and it does a disservice to the themes of infantilization as a policy maneuver hurting the working class.

I saw chilchuck and his labor advocacy for half-foots both as a metaphor for racism (obvious take ik) and for ageism.

The working gen z as a cohort are being infantilized and pushed out of job markets due to infantilization, similar to half-foots in the show. gen z is being maliciously portrayed as too young to vote, enter office, know themselves, know their rights, and take advantage of their resources. Simultaneously, child labor protections and protections against workplace abuse are being rolled back in the US. In Japan, young people are being worked to the bone for nothing and are becoming disenfranchised as a generation while simultaneously expected to be the labor faction that supports the postwar generations in their old age.

Chilchuck's being treated poorly I saw as a clever commentary on the ways infantilization allows for protections to be stripped away under the guise that "oh it's just a job for teenagers- they don't need more than minimum wage" or "let the kids rescue the economy! they're always complaining about that job market!" while simultaneously stripping away rights under the guise of protection- "We can't have that on the internet! think of the children!" "to protect these young people we must raise the age of medical consent for hormones/reproductive health decisions!"

Kui's work with this series spoke to me on many levels, and specifically, the infantilization issue touched me in a way that few other pieces of media have. The struggle to be taken seriously in a stem field as someone young, as someone female, and as someone who had a high-pitched voice to the point I did years of voice training to be taken seriously, chilchuck's character resonated. I (kinda) understand your instinct to think "SHORT! CHILD! RALLY THE MASSES AND KILL THE PEDOS!!1!" but in this case, it's misdirected- mostly because the author was trying to use this misdirection to prove something to you, the reader.

Kui consistently makes cutting commentary on modern issues, the show's take on food neutrality as its headliner, but also the author's takes on cultural issues and the environment (with a focus on our place in the food web as animals). I feel that reducing chilchuck's very conscious position as a tradesman and an activist discounted due to his apparent age down to "1000 year loli ewwww let's send this random tumblr user suicide bait" just displays a lack of critical analysis of the show and a level of disrespect towards Kui and the work as a whole.

TL:DR- stop sending me kys messages I'm fucking that old man

[the-fire-within0]

Libra in Mars

I remember having someone I knew personally getting the "ick" from my Libra being in my Mars. Never understood why. I know it's considered in detriment and not the ideal placement for Libra, but being mocked for it never made sense to me.

From my understanding, for anyone with the same placement, the reason Libra is considered in detriment is that Libra's ruler is Venus, while Mars rules Aries and Scorpio. When Mars is in Libra, it doesn't flow as naturally compared to its complementary counterparts.

People with Libra in Mars often struggle with asserting themselves, preferring to avoid conflict and relying on others' opinions or assistance rather than their own independent drive. This tendency can lead to scattered energy, a lack of follow-through, and misdirection, as well as possible procrastination.

Don't think that's the be-all end-all or that it means it's a "curse." We don't want that kind of black-and-white thinking when we're talking about astrology here.

For the positives, Libra in Mars tend to be very justice-ridden. They prefer equality, balance, diplomacy, and fairness. They might also love the idea of collaborating with another person who share the same common goals. They're not too fond of the idea of direct confrontation, however would prefer to resolve conflicts through discussion and compromise, using tact and diplomacy to maintain harmony. They'll do a lot of thinking before settling on something.

Much of their motivation and energy could stem from appreciation for beauty, a sense of fairness, and the pursuit of balanced relationships. They may direct their energy towards artistic pursuits, creating something beautiful, and advocating for justice.