#i think he'd agree to it

[smallishdoggo]

I feel like Fearne/Ashton/Braius would break kinda bad. Like, I don't think polyamory would fix any of Braius's issues and would perhaps even make them worse, lol.

I think that neither Fearne nor Ashton are particularly direct communicators when it comes to relationships, and I think Braius would be pretty unhappy being handled in the go with the flow vibes based way they've handled their own relationship. And on their end, Braius has known the Hells for all of a week and is getting matching tattoos and declaring how he doesn't want to be anywhere else in the world than with them-- this man is clingy. I don't get the sense he'd be controlling or anything, but I think he'd want a lot of their time and attention in a way that would probably grate on Ash and Fearne even split between the two of them.

[verflares]

(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:

"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"

[shinedoitsulikeabright]

Had Odysseus been smarter, he would've perhaps asked Hades to help him evade Poseidon. I mean, Hades was surely annoyed. Poor guy had 500 new arrivals to deal with all because of his brother's little tantrum.

[drowningparty]

I just think the polite, well-behaved young man who secretly enjoys murdering people with his bare hands and gouging their eyes out and the blood-splattered god who delights in carnage and gleefully exploding people with his mind should, hand in unloveable hand, embrace their primal rage, become avatars of the slaughter together, and be deliriously happy for all of 2 seconds before one of them invariably kills the other. and it would be a real coin toss who dies first

[blindmagdalena]

How do you think homelander would be with an s/o that casually likes to share food and drinks? Like they offer him a sip of their drink or are always trying to get him to try their food but on the other hand they also casually will take his drink (probably a glass of milk) and take a sip before handing it back

Also I feel like homie would be a huge crybaby with anything that’s too sour or spicy food/drink wise.

"Try a sip?" You offer, holding your strawberry lemonade out to Homelander.

He's taken aback. "Uh... sure." He moves to take the drink, but you beat him by simply bringing the straw closer to his lips. He feels a little silly—like a kid being spoon fed—but he obligingly takes a sip. He can't stop himself before he makes a face: it's much too sweet, and the sour doesn't help it any.

You laugh. He bristles initially, but you're not laughing at him, he realizes. You look sympathetic as you pull the drink away. "Not a fan?"

"No," he says flatly, wiping his lips.

"Maybe next time."

Sure enough, there are many, many next time's. Whenever you're eating or drinking something new, you've stopped asking before putting it in front of his mouth, and he's stopped questioning it. He's come to love the way you always feed it to him yourself.

He rarely ever likes what you have him sample, but it's not about the food, really. It's about the hundreds of tiny things you do each day to make him feel like a part of your life. It's about how eagerly you share your every little experience with him.

It's as if somehow you know just how much he's missed out on.

"Is this just milk?" You ask one day, pointing to his glass.

A small part of him braces. Will you think that's strange? "Yes." He watches you lift it without a thought and take a little sip of it. You wrinkle your nose, and he smiles, that flash of tension easing from his body. "Not a fan?"

"Not really," you admit, setting it back down.

"Maybe next time," he says fondly, taking a hefty swig of his own.

[arthursfuckinghat]

The whole conversation between Arthur and Dutch on the way to Lagras in Country Persuits really is just the "I give you food and a roof over your head, you have no right to question me" argument you have with your parents

[pynkhues]

I would LOVE to read your analysis of louis as byronic hero as apposed to his reading as gothic heroine. lots of the latter and zero of the former in the fandom.

Sure! Mmm, okay, so –

What are we talking about when we talk about Gothic Heroes?  

When we talk about gothic heroes, we’re really talking about three pretty different character archetypes. All three are vital to the genre, but some are more popular in certain subgenres i.e. your Prometheus Hero may be more common in gothic horror, whereas your Byronic Hero might be more likely to be found in gothic romance. That’s not to say they’re exclusive to those subgenres at all, and there is an argument that these archetypes themselves are gendered (in many ways, I think people confuse Anne being an author of the female gothic with Louis being a gothic heroine, but I’ll get into that later), but this is also not necessarily something that’s exclusive.

Anyway, I’m getting ahead of myself, haha, so the three gothic hero archetypes are:

Milton’s Satan who is the classic gothic hero-villain. You can probably guess from the name, but he was originated in John Milton’s 1667 poem, Paradise Lost. He is God’s favourite angel, but God is forced to cast him out of heaven when he rebels against him. As an archetype, he’s a man pretty much defined by his pride, vanity and self-love, usually fucks his way through whatever book or poem he’s in, has a perverted, incestuous family, and a desire to corrupt other people. He’s also defined as being “too weak to choose what is moral and right, and instead chooses what is pleasurable only to him” and his greatest character flaw, in spite of all The Horrors, is that he’s usually easily misguided or led astray. (I would argue that Lestat fits into this archetype pretty neatly, but that’s a whole other post.)

Prometheus who was established as a gothic archetype by Mary Shelley with Frankenstein in 1818. Your Prometheus Hero is basically represented by the quest for knowledge and the overreach of that quest to bring on unintended consequences. He’s tied, of course, to the Prometheus of Greek myth, so you can get elements of that in this character design too in that he can be devious or a trickster, but the most important part of him is that he is split between his extreme intelligence and his sense of rebellion, and that his sense of rebellion and boundary pushing overtakes his intelligence and basically leads to All The Gothic Horrors.

And the Byronic Hero, who as the name implies, was both created by and inspired by the romantic poet, Lord Byron in his semi-autobiographical poem, Childe Harold’s Pilgrimage which was published between 1812-1818. The archetype is kind of an idealized version of himself, and as historian and critic Lord Macaulay wrote, the character is “a man proud, moody, cynical, with defiance on his brow and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection.” Adding to that, he’s often called ‘the gloomy egoist’ as a protagonist type, hates society, is often self-destructive and lives either exiled or in a self-exile, and is a stalwart of gothic literature, but especially gothic romance. Interestingly too, in his most iconic depictions he’s often a) darkly featured and/or not white (Heathcliff being the most obvious example of this given Emily Bronte clearly writes him as either Black or South Asian), and b) is often used to explore queer identity, with Byron himself having been bisexual.

Okay, but what about the Gothic Heroine?

Gothic heroines are less delineated and have had more of an evolution over time, which makes sense, given women have consistently been the main audience of gothic literature and have frequently been the most influential writers of the genre too. The gothic genre sort of ‘officially’ started with Horace Walpole’s 1764 novel, The Castle of Otranto and Isabella is largely regarded as the first gothic heroine and the foundation of the archetype, and the book opens even with one of the key defining traits – an innocent, chaste woman without the protection of a family being pursued and persecuted by a man on the rampage.

The gothic heroine was, for years, defined by her lack of agency. She was innocent, chaste, beautiful, curious, plagued by tragedy and often, ultimately, tragic. Isabella survives in The Castle of Otranto, but she’s one of the lucky ones – Cathy dies in Wuthering Heights, Sybil dies in The Picture of Dorian Gray, Justine and Elizabeth both die in Frankenstein, Mina survives in Dracula, but Lucy doesn’t. There’s an argument frequently posited that the gothic genre was, and is, about dead women and the men who mourn them, and Interview with the Vampire certainly lends itself to that pretty neatly.

Of course, the genre has evolved, and in particular by the late 1800s, there was a notable shift in how the Gothic Heroine was depicted. The house became a place of imprisonment where they were further constrained and disempowered, she was infantilized and pathologized and diagnosed as hysterical, and as Avril Horner puts it in her excellent paper, Women, Power and Conflict: the Gothic heroine and ‘Chocolate-box Gothic’, gothic literature of this era “explores “the constraints enforced [by] a patriarchal society that is becoming increasingly nervous about the demands of the ‘New Woman’.”

This was an era where marriage was increasingly understood in feminist circles to be a civil death where women were further subjugated and became the property of their husbands. This was explored through gothic literature as the domestic space evolved into a symbol of patriarchal control in the Female Gothic.

Female Gothic vs Male Gothic

Because here’s the thing – the female gothic and the male gothic are generally understood to be two different subgenres of gothic literature.

While there are plenty of arguments as to what this entails, the basics is that the male gothic is written by men, and usually features graphic horror, rape and the masculine domination of women and often utilises the invasion of women’s spaces as a symbol of further penetrating their bodies, while the female gothic is written by women, and usually features graphic terror, as opposed to horror, while delving more specifically into gender politics. More than that though, its heroines are usually victimized, virginial and powerless while being pursued by villainous men.

The Female Gothic as a genre is also specifically interested in the passage from girlhood to female maturity, and does view the house as a place of entrapment, but she is usually suddenly “threatened with imprisonment in a castle or a great house under the control of a powerful male figure who gave her no chance to escape.”

That’s not Louis’ arc, that’s Claudia’s arc twice over, first with the house at Rue Royale, then with the Paris Coven, and Lestat and Armand aren’t the only powerful male figures who imprison her.

Claudia as the Gothic Heroine

Claudia in many ways is the absolute embodiment of the classic gothic heroine. Even the moment of their meeting is a product of Louis’ Byronic heroism – his act of implacable revenge against the Alderman Fenwick which prompts the rioting that almost kills her. She’s a victim of Louis’ monstrousness before they’ve even met, and while he saves her, he arguably does something worse in trapping her in the house with both himself and Lestat, holding her in an ever-virginal, ever-chaste eternal girlhood, playing into Lestat’s Milton-Satan by enhancing the perversion of family and ultimately infantilizing her out of his own desire for familial closeness.

Claudia has no family protection before Louis and Lestat – a staple of the gothic heroine – she is completely dependent on them in her actual girlhood, and again in adulthood, never developing the strength to be able to turn a companion, to say nothing about the sly lines here and there that further diminish and pathologise her (Lestat calling her histrionic, Louis making her out to be a burden, etc.). This is all further compounded again with the Coven, and when the tragedy of her life ultimately leads to the tragedy of her death.  

Louis as the Byronic Hero

Not to start with a quote, but here’s one from The Literary Icon of the Byronic Hero and its Reincarnation in Emily Bronte’s Wuthering Heights:

“Generally speaking, the Byronic hero exhibits several particular characteristics. He does not possess heroic virtues in the usual, traditional sense. He is a well-educated, intelligent and sophisticated young man, sometimes a nobleman by birth, who at the same time manifests signs of rebellion against all fundamental values and moral codes of the society. Despite his obvious charm and attractiveness, the Byronic hero often shows a great deal of disrespect for any figure of authority. He was considered "the supreme embodiment [...] standing not only against a dehumanized system of labor but also against traditionally repressive religious, social, and familial institutions" (Moglen, 1976: 28).

The Byronic hero is usually a social outcast, a wanderer, or is in exile of some kind, one imposed upon him by some external forces or self-imposed. He also shows an obvious tendency to be arrogant, cunning, cynical, and unrepentant for his faults. He often indulges himself in self destructive activities that bring him to the point of nihilism resulting in his rebellion against life itself. He is hypersensitive, melancholic, introspective, emotionally conflicted, but at the same time mysterious, charismatic, seductive and sexually attractive.”

Louis as he exists in the show to me is pretty much all of those things, and I think to argue that he’s a gothic heroine not only diminishes Claudia’s arc, but robs Louis of his agency within his own story. Louis chooses Lestat, over and over again, he’s not imprisoned by the monster in the domestic sphere, he is one of the monsters who’s controlling the household, including making decisions of when they bring a child into it and when Lestat gets to live in it – he wanted to be turned, he wanted to live with Lestat in Rue Royale, and while there are certainly arguments to be made about their power dynamic within the household in the NOLA era, importantly Louis actually gained social power through his marriage to Lestat, particularly through The Azaelia, he didn’t lose it in the way that’s vital to the story of the gothic heroine.

Daniel Hart even said it in a recent twitter thread about Long Face, but there is an element of Lestat and Louis’ relationship that is transactional, and to me, for that to exist, they both have to have a degree of control over their circumstances and choices in order to negotiate those transactions. Claudia is the one who can’t, she’s the one who’s treated effectively as property, and she’s the one who lacks control over her circumstances.

While you could perhaps argue the constraints of the apartment in Dubai lend more to the gothic heroine archetype, I’d argue it as furthering the Byronic trope again by being representative both of Louis’ self-destruction and self-imposed exile. As Jacob has said a few times, Louis does seem to have known to a degree that Armand was involved in Claudia’s death on some level, and it’s that guilt and misery that has him allowing Armand his degree of control. The fact that Louis was able to leave Armand as easily and as definitively as he was I think demonstrates that distinction too – after all, to compare that ending to Claudia’s multiple attempts to leave the confines of the patriarchal house, both in Rue Royale and Paris, which were punished at every turn – first by her rape, then by Lestat dragging her back off the train, and then by the Coven orchestrating her murder.

Louis gets to leave because Louis can leave, he has both the social and narrative power to, and the fact that he does is, to me, completely at odds with the gothic heroine. Louis can, and does advocate for himself, Louis is proud, moody, cynical. Defiance is a key part of his character, just as his exile from NOLA society due to his race, and his chosen rejection of vampire society in Paris, is. He’s intelligent and sophisticated, travels the world, and has misery in his heart, guilt that eats him up, and self-destructive tendencies. That’s a Byronic Hero, baby!  

[frownyalfred]

thinking about how Gotham and Bruce/Batman are cursed and how slowly, over time, by bringing each sequential Robin into his care/mission he's inadvertently cursing them as well and how it would ruin Bruce if he ever knew

[trensu]

ETA: now on ao3 as Hawkins Halfway House for Homeless Horrors

ETA2: now with an additional snippet

okay, how's this for an AU

We know that Steve wants to be a dad. Like, his literal life dream is to have a minimum of six children. SIX. who wants that?? crazy people, that's who. but we forgive him his insanity because he's sweet and will actually probably be a really good dad and there's not enough of those in the world.

the downer is that it's the late 90s, he's a (still) single guy in his thirties, and every adoption agency on the planet would rather give their children to a heteronormative couple who don't even want kids than to a single dude who would dedicate his heart and soul to giving his kids a happy healthy home.

He's bemoaning his fate to Robin at a bar they recently discovered. It's a weird little joint, kinda tucked away on the outskirts where Steve could've sworn didn't exist just last week. The patrons were kinda weird too but neither he or Robin could put their finger on why or how. If Steve had been a little less miserable, and Robin a little less caught up in comforting him, they might've noticed how everyone else in the bar kept sneaking curious glances at them or how they somehow always kept most of their features hidden.

They didn't though. Even when they were interrupted by a handsome black gentleman who called himself Jeff. Jeff said that he couldn't help but overhear their dilemma and that he's actually part of an agency that is more open minded about potential foster or adoptive parents. Steve's a little deeper in his cups than he intended, and doesn't question that some random guy in a bar is offering him a chance of having children. Robin is not as far in her cups and finds it a bit suspicious.

She was going to say something about it but Jeff looked her in the eye and said, "Everything is fine. There's no reason to worry. I'm only trying to help."

"You're only trying to help," Robin murmured back blearily. "Everything is fine. Yeah. Yeah, 'm not worried."

Jeff gives Steve his card and tells him he can stop by the very next day if he'd like, since his schedule is open.

The next day, Steve is regretting having gotten so drunk. Not really because of the hangover (though holy shit, he is NOT twenty anymore he needs to stop drinking like one). No. It's because Jeff had just finished giving him a tour of the facility full of rambunctious children in need of a home.

Actually, that had been pretty okay even if the other adults in the facility startled at the sight of him and the children kept ducking into other rooms to hide from him.

No. It's because Jeff had just introduced him to a child named Dustin who sneezed unexpectedly and somehow turned into a kitten.

"Um," Steve said. Jeff sighed.

"Dustin hasn't gotten back control over his shapeshifting since his mother's passing, but I assure you he's been improving."

"...shapeshifting," Steve said, numbly.

"Yes. Dustin tends to go for cat shapes, like his mother did." Jeff bends down to pick up the loudly mewing tabby kitten. "We've managed to get him to shift mostly into a domestic shorthair, rather than a cougar cub."

"That's great," Steve squeaked as he tried to tamp down the growing hysteria in him. "Really, really great. Y'know what, Jeff, this whole thing's been great but I think I'm still kind of drunk so I'm just gonna go--"

"No, wait," Jeff says, quickly placing the Dustin kitten on his shoulder before reaching out to grab Steve by the elbow. "Please. Look, you seem like a good guy. I did a quick scan of you and everything, and I really think if you'd take a moment to sit down and--"

"JEFFORD BILLANY JONES."

Jeff's shoulders hunched, nearly dislodging Dustin from his shoulder. He sighed again and turned to face the man storming towards him and Steve.

"Eddy, you know none of that is my name."

"I'll call you whatever I want since for some unfathomable reason, you've brought a human into my sanctuary. Why is there a human in my home, Jeffamy."

"Eddy, let me explain."

"It's Eddie in front of the human," Eddie said.

Steve's brain was experiencing some sort of malfunction because Jeff had been calling this man Eddie, except if he concentrated, the way Jeff said Eddie and the way Eddie had said Eddie sounded very very different except it hadn't because they both sounded like Eddie except for how Jeff's Eddie sounded different from, the same as, different, just like--

A pair of ringed fingers snapped aggressively in front of his face, startling Steve from an impending aneurysm.

"You. Who are you, who sent you, what do you want."

Steve stuttered something incoherent. He's pretty sure he's had a mental break from reality. There was some sort of sentient black sludge creeping across the tiled floor, wrapping a tendril around Jeff's leg.

"What is that?" Steve squawked. Jeff beamed at him.

"Oh, this is El! She's a Monster Under the Bed. She hasn't decided on a form yet, but that's okay, we love her just as she is."

"Jeff," Eddie snapped. Jeff looked at Eddie stubbornly.

"You told me we needed all hands on deck."

"How dare you, I'd never stoop to using boat metaphors."

"Don't distract me with blatant lies. Eddy, you said we needed help. You said you'd take anyone at this point."

Steve has not been able to stop staring at the sludge creature (El?). He's beginning to realize that he can't quite remember what Jeff looked like, or any of the adults they had seen. He's noticing that some of the children that have been scampering about had looked off. Like the boy with the bowl-cut they had passed by earlier who had looked...frosty around the edges. Or the girl he thought had had red feathers in her hair but is now suspecting the feathers were something more than decorative.

Ringed fingers snap in front of his face again. Steve finally focused on the man named Eddie who was actually named Eddie which was different from Eddie somehow. Now that he's able to shove away the confusion that is this man's name, he's struck by the fact that Eddie was quite possibly the most gorgeous man Steve's ever seen. He had wide, dark eyes that made Steve think of seabeds in the deepest of waters. His hair was a riot of dark brown curls that for some reason brought to mind swirling schools of fish.

"Answer my questions," Eddie demanded. Steve blinked and, with some difficulty, remembered the previous interrogation.

"Uh, I'm Steve. Jeff invited me because I want to be a dad."

Eddie barked out a laugh.

"Oh, is that right? In that case, welcome to Hawkins' Halfway House for Homeless Horrors! I'm sure Jeff would love to finish introducing you to the rest of our children. Have you met Mike? He's a ghoul! Or Lucas! He's a werewolf and his dream is to become a basketball star. They both have very sharp teeth so watch out for their tantrums."

Jeff scowls at Eddie before turning back to Steve. Steve was starting to feel faint and he was no longer sure if he regretted drinking the night before or regretted not drinking more.

"Steve, it's okay. Eddy is making it sound scarier than it actually is. You said you wanted to be a dad, and we need foster parents that can help these kids learn how to blend in with humans. That's what the halfway house is for, but there's only so much they can learn while living in sanctuary. We need a way to have them experience the human world more directly while still keeping them safe, and I think you're the solution we've been looking for. What do you think?"

"I think I need to sit down," Steve said thinly. Eddie snorted derisively. Steve was slightly offended but honestly everything was a bit too much right now and he really would like to sit down for a moment just to process. Because monsters are real, apparently, and some of them need parents. Which was terrifying to think about but also not so much? Because all kids were little monsters some of the time right? If Steve could have a moment to get his bearings...

"This was a terrible idea, Jeffathan."

"I think it was a great idea, actually. I really think this could work."

"No. I forbid it. Don't do this again."

Then there was a sweet and beautiful humming. It made the edges of Steve's mind go fuzzy and soft. He blinked slowly and looked for the source of the sound. Eddie stared at him intently and when he spoke, his voice was like music.

"Steve," Eddie said. "Steve, do you want to make me happy?"

Steve nodded dumbly. He wanted that more than anything in the whole world. He wanted to make Eddie smile. He wanted Eddie to never stop singing.

"It would make me very happy if you went home and forgot everything you saw here today," Eddie continued.

Steve made a sad sound. He didn't want to forget. He didn't want to forget beautiful, gorgeous Eddie and this place that could make his dream come true.

"Please, Steve," Eddie's lyrical voice took on an aching mournful tone. "If you don't, you'll break my heart. I'll never be happy again."

The sadness in the song made Steve feel like the world was ending. Eddie couldn't be sad! Steve would rather die than make Eddie sad!

"I forget," Steve mumbled through the fog in his mind. "And you'll be happy?"

"So happy. I'd be the happiest man alive if you do that one little thing for me, my sweet Steve."

Steve nods again. "Okay."

"Good boy," Eddie croons. Steve felt like he swallowed the sun at those words. He followed Eddie as Eddie guided him through the halfway house. Eddie hummed his lovely song the entire way.

"Go home and forget," Eddie sang one last time as he helped Steve get behind the wheel of his car.

"Yeah," Steve replied dreamily and drove away.

--

The telephone rang shrilly through his apartment. Steve stumbled out of bed and picked up, only fumbling it a little bit.

"H'llo?"

"Steve, what the hell, I've been trying to get a hold of you all day! Where have you been?" Robin's voice rang out, making Steve flinch. He scrubbed his free hand over his face tiredly.

"Home? I just woke up," Steve said. It was weird that he was fully dressed, he thought dazedly, but it wouldn't be the first time he's passed out drunk in his street clothes. Was he wearing this shirt yesterday? He could've sworn he'd worn the navy one.

"What? Just now? It's like five in the evening!"

"Huh. That'd explain the weird dream," Steve mumbled.

"Was it the one where you get seduced by a giant squid? Because I don't need to know more about your weird tentacle fetish."

"I don't have a tentacle fetish! I had the dream ONE time, and I wasn't being seduced, I was getting drowned and it was terrifying!"

"To-may-to, to-mah-to."

"Whatever, this one was weirder anyway."

"I find that hard to believe but now I'm morbidly curious. Hit me with it."

"...I don't remember."

"There goes my entertainment for the evening."

"Was there a reason you called, Robin?"

"Yes! I met this girl named Chrissy and I swear Steve, she's the most beautiful woman I've ever seen..."

Beautiful. Steve had the faint impression of dark eyes and silver rings, but it was quickly washed away like a child's sandcastle in the tide under the onslaught of Robin's ramblings. As he listened to his best friend, he couldn't help but feel there was something he'd forgotten. There was something he'd been planning on doing today, wasn't there...?

...oh, well. If it was really important, he'd remember eventually.

[canisalbus]

(im sorry)

Vasco would change after Machete's death, I think. He'd always be a good, kind man, and in time his smile would return, but never with its old radiance. Sorrow would age him prematurely, and white would creep over his muzzle like clouds blocking the sun.

But perhaps he'd look in the mirror some nights, and run his fingers across the white fur with fondness, remembering the white fur that used to press against him once upon a time. A last reminder of his love, forever on his lips.

.

[moongothic]

The worst part about trying to figure out what Crocodile's deal is that because he's so fucking irredeemably evil in Alabasta... Like... Yeah he's just irredeemably evil. Like I love him but he did cause countless casualties, a ton of pain and suffering and literally attempted to blow up a million people

Like no amount of theoretical "trying to do it to save his son from the Government" or "trying to stop the Government from hurting anyone else" or just "doing it for the greater good" is going to make him any less of a mass murderer

But also Robin absolutely 100% helped with all of that shit simply because she wanted to read the Poneglyph for herself.

No amount of her intending to betray Crocodile from the begining and sabotaging his plans erases the fact that Robin also caused countless people to starve to death and die in the civil war. Her sabotages only succeeded out of sheer luck, and only spared the lives of the people at the final battle. She has the blood of countless innocents on her hands. Because she wanted to read history.

But her crimes were swept under the rug because she has a sad backstory and her sabotages worked out just at the nick of time by sheer dumb luck

So Croc??? Just??? Is there a chance??? At all???

But also he did literally intend to sell Buggy into slavery

Like, fuck Buggy, but jesus

What's also killing me is that we like. Don't know what Luffy thinks of Crocodile right now. Which really is like. The thing that will decide how we, as the readers, are supposed to feel about Crocodile. Luffy is our POV

Like we don't know what Luffy's opinion of Crocodile is after he helped save Luffy (and spared Ace once) during the Summit War. Like Luffy clearly fucking hated the man in Impel Down and the two interactions they had during the War weren't like positive (in the sense that Luffy himself didn't think of the interactions as particularly positive. Defending Whitebeard from being attacked once and then being like "wait what HIM?!" when Crocodile defended Ace. To be fair, in the midst of the chaos, there wasn't much time to spend on Pondering On Such Things because Ace needed to be saved, and Oda goes out of his way to not show us what's going on inside Luffy's head, because it's all meant to be out in the open anyways. Regardless, these weren't like "yay it's Crocodile! :)" moments for Luffy is what I mean)

But also Luffy was very grateful of Law for saving his life and was willing to put his trust into Law for their alliance- of course, they weren't explicitly enemies to begin with, rivals at most, but still. Luffy respects those who help him.

But also Luffy grew during the timeskip. Like he's not that clueless anymore (like he finally understands Hancock is in love with him etc), and similarly Luffy gets that Buggy is an absolute loser now. But also Buggy did also help save Luffy's life (even if it was by accident), and while IDK if Luffy is aware of that, I don't think that helped improve Luffy's impression of Buggy

So like. The fuck does Luffy think of Crocodile, at this moment? Even with the Cross Guild reveal, he didn't even really comment on Croc and just focused his energy on being confused about Buggy being "the leader" of CG. IDK it feels almost intentional or something, that we don't know what Luffy thinks?? Especially since we did get Zoro's opinion on Mihawk in the situation?? Or am I delulu?? (Sidenote. I'd love to know what Robin would have to say about Crocodile helping save Luffy's life. What Jinbei might think of the final words Crocodile left him with before blasting them out of Akainu's reach. But mainly just Robin's thoughts)

Like IDK my best guess would be that Luffy still hates Crocodile just the same but is like grossed out by technically owing him one??? In the classic

-kinda way, you know? And that he'd be just kinda confused about it?

Because I can't fucking imagine Luffy being like "oh we're cool now" with Crocodile, let alone "Yay Crocodile :) He saved my life!". But also like. Luffy does kind of owe Croc one. Kind of. And Luffy is usually very respectful of that kind of thing. Aaaaaaaa???

(Also does. Does Luffy even know it was Crocodile who yeeted him and Jinbei out of Akainu's reach to begin with. 'Cause he was unconcious. Knocked the fuck out. Does. Does Luffy even know. Did anybody tell him???)

I just.

There's the reasonable part of me that knows Crocodile is an irredeemable evil dickbag and everything he has ever said and done up to the most recent chapters support that. He is too far gone.

And then there's the absolutely delulu part that loves a tragic villian who gets a heartwrenching redemption that's looking for any fucking sign that could indicate Crocodile could maybe be one

[chuthulhu-reads]

[ID: Two panels from Dungeon Meshi. The first scows Senshi clutching his face as tears start to spill out of his eyes, saying, "I've always... always wanted to have this soup one more time." He's not wearing his helmet in this panel, so his face is unusually visible, detailed and vulnerable. The second panel shows himself as a youngster, surrounded by his old mining team, all smiling at each other, one of them rubbing Senshi's head. Modern-day Senshi continues, "Thank you. All of you. Thank you." End ID.]

Holy shit. I anticipated some tragic backstory from the "I must feed the young ones" panels, but what I'd guessed was that Senshi might have become so devoted to cooking and eating literally whatever because he'd previously survived a famine and had seen children starve to death. I did not expect him to have been the child who was the sole survivor of a doomed travel party, one of whom was determined to feed Senshi first because he was the youngest, and that Senshi has lived with the fear of having inadvertently committed cannibalism by eating stew that he'd never quite known the contents of. I'm happy for him that Laios deduced and confirmed for him that it was griffin meat, that he was able to taste the meal that saved his life once more and remember the friends he lost. Seriously, I'm crying, and also earnestly relieved that while his backstory is pretty dark, it's not the type of fucked up I'd been preparing myself mentally for.

[turtletaubwrites]

Poor Law. I wonder what his chemical of choice is, because he for sure needs to take a chill pill, and lay in the dark after dealing with those idiots all day 😅

[lanshappycorner]

Hear me out…Alex lives au, how would Orter have turned out (if that makes grammatical sense)

hello! yes that makes sense :) here is how i think it would go

undooms your yaoi but anyways i don't think orter would be a divine visionary (although there is a chance if alex convinces him to try) because he'd be happy in the magic police with his boyfriend bestie. Also he is less mentally ill idk i think he'd also make up with wirth faster because alex would support him in having Healthy Family Relationships👍

[lidoshka]

AU where everything is the same except the cuadruplets have white hair.

+

I've been reading too much reddit; have a Sanji with lunarian DNA.

This changes nothing in the plot... except perhaps he can dye his hair Ramona style.

[triglycercule]

killer looks so pathetic in this. it tickles my fancy,,,,,, like yessss dust you go man strike some unnerve into unnerve personified