#i am also sorry for the length...

[a-scary-lack-of-common-sense]

HI i’m personally a crutch user and i love scout with crutches but consider

pyro or engie crutch user(s)

im a big enjoyer of my comfort characters being just like me i hope this is ok 👍

Pyro or Engie crutch users? ❌️

Pyro AND Engie crutch users ✅️

Hopefully these cane personalisations don't look too weird?? I have no idea where I was going with Pyro tbh, I think I was trying to make it a mini lighter but kinda failed miserably :')

Edit: FUCK, YOU SAID CRUTCH NOT CANE I'M SO SORRY I GOT IT MIXED UP

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[theladyyavilee]

after thinking about it all day now I am insane enough to make it into an actual post, sorry for just copypasting my own tags, but alas xD

this was in response to this post about how buck probably didn't even realize at first how close tommy and he were standing, because him and eddie always stand this close which SO FUCKING TRUE, I just spiralled a little frome there

#but do you also think that NOW the next time he DOES stand this close to eddie he will notice?#DO YOU THINK NOW THAT HE KNOWS HOW CLOSE CLOSE IS AND HOW EASY IT IS TO BRIDGE THAT DISTANCE#HE WILL ALWAYS ALWAYS ALWAYS BE AWARE OF EDDIE BEING THIS CLOSE TOO AND HAVE A TINY PART OF HIMSELF WAITING FOR EDDIE TO REACH IN THE SAME#WAY TOMMY DID BECAUSE REALLY ISN'T THAT THE LOGICAL CONCLUSION TO EASY CLOSENESS LIKE THIS#and like *screams into hands some more* WE KNOW that eddie steps in super close next episode#we know he touches buck#and it isn't the chin it is his shoulder and hip#but really that only makes it more insane#and maybe eddie isn't thinking anything of it because they HAVE always done this THIS IS WHAT THEY DO#they have always stepped close and sought out each other's bodies and touched and just generally had a pull towards each other#but on god I cannot see a world where now buck isn't aware of it in a totally new way#do you think eddie steps close and reaches out to touch him and buck flashes back to tommy stepping close#do you think the feeling of fingers on his chin and fingers on his neck start to blur?#do you think he feels eddie's grip on his hip and for just a second he wonders if there is gonna be a pull that pulls him in unexpectedly#the way that tommy gently pulled his chin towards him? how it was both unexpected and something that he had secretly deep down been hoping#for and been TRYING to provoke by stepping closer himself by swaying closer by stepping in#do you think that for just a moment all of these things blur for buck?#and that has never happened before but HOW are you supposed to ever forget now that you have these new associations#and you have to realize that oh maybe they are not so different from what I have always had#how do you deal with that? with how suddenly suddenly something you have always had has this new meaning and you can't unsee it#but you also can't have it and you have to lock that down because with tommy it already felt like risking everything but in an exhilarting#way#but like this? oh like this the risk is TERRIFYING

the more I am thinking about this the more insane I am feeling? because then I remembered that in the stills from 7x5 we know Eddie has his hand on Buck's side from the way the fabric pulls and EDDIE NEVER TOUCHES BUCK LIKE THAT, he usually only does the shoulder grab! which by itself is insane enough

BUT

BUT THEN

we know from the 7x4 stills that even though we did not quite see it in the episode because of the use of close-ups, tommy too had his hand on Buck's side during the kiss/in the aftermath of the kiss, THE SAME HAND ON THE SAME SIDE VERY LIKELY IN THE SAME SPOT

like? WHAT AM I SUPPOSED TO DO WITH THIS KNOWLEDGE OTHER THAN SCREAM?

the fact that they have eddie touch him like this specifically after tommy touched him like this, when he normally doesn't do that? making Eddie mirror Tommy's touch? FUCKING INSANITY

OF COURSE it'll blurr in buck's mind for just a second, there really is no way it doesn't, sensory memory is SO INSANELY STRONG, oh I am going fully insane over this

[certifiedlibraryposts]

Any of you who feel bad about having overdue materials, just know that I, Library Enthusiast Nerdass Blog Runner, just realized i have accidentally kept the first two Dungeon Meshi books hostage for a week.

[rings-of-power-realm]

Thank you Robert Aramayo for being a better person than the entire internet. It was a beautiful scene and you and Morfydd handled it perfectly 💚

[beanghostprincess]

Finding hilariously ironic how most of Sanji's perv jokes end up being extremely trans-coded to some extent only because the joke is longer than it should be.

The "guy with a woman's body" joke has been a thing for ages now, but it usually ends after the "haha I have booobs" joke. Sanji extends it to "I want to stay in this body forever. It feels right. I don't want to give it back". Which could still be read as some perverted stuff, but I don't think any man would agree with that. No matter how much of a pervert he is. Because usually being perceived as a woman is something they refuse to go through although they like being in possession sexually of a woman's body (a type of excitement Sanji actually shows, not by being that much aroused by it but being comfortable with it? Which is... A different approach to the joke).

Sanji has made the typical "going into the girl's changing room/bathroom" joke a couple of times, but in Egghead he goes all the way to be extremely frustrated about not being able to do so? And it is obviously different than wanting to keep Nami's body forever. It can still be seen as frustration for not being able to see girls naked. But. But. The fact that the length of the joke increases? The fact that it's way longer than it should be for an average "haha boobs" joke? You know what I mean.

Not to mention his whole arc during the time-skip and how a simple (both transphobic and misogynistic, by the way) joke, goes all the way to show us that Sanji is indeed comfortable in more feminine clothes and environment, until he's pretty much forced to snap out of his fantasy to go back to the crew. But he wasn't having a bad time at all. And it is intended to be a joke, but it's... Longer than it should be to be considered only a joke and to not pay attention to it.

This isn't meant to be an analysis of any kind because if it were I would've worded it differently and would've mentioned how his childhood is also extremely trans-coded, but we all already know that. I just find it extremely funny how all of these jokes that intend to be directed at straight perv men are actually too long to not be taken into consideration as something deeper than a joke. But, aha, yeah, these are just jokes and definitely not proof of Sanji's perception of gender and his issues with it.

[drawnfamiliarfaces]

If Chase Yuong and the First Ninja start a fight, who will win in your opinion? Either way, it's going to be epic.

anon ANON thank you. I've been dying to think more about those two in the same context, ever since i realized the similarities of these two idiots i like (greenish hair? martial artist? magical? kinda lived long???) But i've shoved those crossover-ish ideas away since i am busy with other stuff lol. but this gives me an excuse >;)

Ok, if we do NOT take canons in consideration (because lets be truthful, cartoons rarely can give a full scope of a character to our satisfactions lol) so I have 2-3 vague scenarios in which they clash (IMO either of them can win??? (because i like them both, even if i am more of First fan, so I cant decide who of them winning would be more entertaining lol)):

If First Ninja in his prime (sometime after imprisoning Sorcerer but before the Ultimate Lesson) clashed with 700 yo Chase Young (since this fucker is canonically 1500 yo) who would probably try to defeat First in order to make him part of his Jungle Cats harem:

Chase is ridiculously, stupidly overpowered but one could argue that at 700 he hasn't yet reached the height of all his powers, so First would certainly have a fighting chance. First is supposedly uniquely trained since (probably) his birth by his Ninja Clan and continuous battles with the Sorcerer (and most likely other creatures, like Sorceress and Tengu and etc.) throughout his teenage-young adult life to take on enemies like Chase - overpowered magical beings/soulless monsters - with the help of Ninja Mask and all its powers.

Admittingly, in this case the win will most likely go to Chase, if only because of his experience and overwhelming array of powers at his disposal. Though considering we do not know the full scope of Ninja Mask's powers, First has like maybe 15-25% chance to win (and at least 30-45% in my mind if i consider my own hc about the mask lol), but not 0%.

If First Ninja's 800 yo. spirit somehow was released from/embodied by Ninjanomicon to clash with 1500 yo Chase Young in the Modern Present:

Here a lot of my hc come in play. I fully believe that if First - with all the developed abilities, experiences, memories, power (and possibly spirits) acquired during his stay/merge within the Ninjanomicon and from over like 200 people who ever used the mask over 800 years - fought 1500 yo Chase - who spent at least a century or 2 or 3?? hidden away in his Fortress, growing just a bit complacent, since he clearly became too strong and thus bored of the world when it couldn't offer him decent opponents anymore, at least not until current Monks - the fight could go either way.

Chase is still stupidly OP, but its clear that he was deprived of good opponents for a loooooong time, since he resorted to fight against/taunt teenagers and Omi, who is basically a kid still. And they frequently managed to outmanoeuvre him in their confrontations, if not in an actual hand-to-hand fight then at least in common sense lol.

Meanwhile First trained and learned with his each of his successors years in and out, and while we dont know exactly what sort of things happened, we can say for sure that the fighting was continuous. Ninja barely had any rest, for the Sorcerer probably attracted chaos inclined allies and minions and thus a never ending stream of enemies for Ninja to battle.

If basic bitches clash aka OG Good Chase and First Ninja before he was First Ninja:

This is just for fun and because I fully believe that pre-Ninja Mask First will trounce Good Chase. xD

We do not know Chase's past, and there are various headcanons on how he came to be a Xiaolin Monk, but let's just say that judging by his apperance and XS voice, he is probably a very young adult-ish before he drunk his Soup, so he most likely was a Monk since at least his pre-teen/teen years. He appears to be insecure in his Monk-ness and in his abilities to become the greatest warrior despite his competence, since he was swayed/manipulated/convinced? to sell his soul to a demon for more power and freedom from Monk values.

If we judge First's appearance and voice, he would be perhaps a slight bit older than Chase when he became The Ninja, and not to mention since he was born into the Ninja Clan, he was likely trained since he was very young. His personality appears to be very studious and there is certainly a great deal of strength in his character since he not only managed to continue on with his duty even after loosing his brothers but also not succumbing to the overwhelming Power of the Mask that can corrupt those of weak belief and hold the title of the Ninja longer than anyone else.

(Not to mention I am of very biased opinion that Ninjas are cooler than Monks. lol. Also we can assume they all have magic of some sort. Like think Naruto like Ninjas and Xiaolin Elemental Dragons/Monks.)

ALSO in case 1, obviously if they fought with the agreement that if Chase wins he would ABSOLUTELY add First into his Jungle Cat harem. First will most likely add/request a stipulation that Ninja Mask was not taken with First and I can see Chase honoring that agreement, so the Ninja legacy will continue on and Chase still gets an incredible warrior to his ranks, and perhaps more warriors if the future ex-Ninjas would decide to try and fight him later on. ;)

(first's animal form would be either a leopard or iriomote cat (both native to Japan) or a crow because tengu connection/associations ;D )

And if First wins, he certainly would figure out how to contain Chase, (perhaps even in the Ninjanomicon itself hohoho) since he somehow managed to contain a sorcerer that controls chaos with some binding, magic from a mythical beast and in a deep hole that perhaps connected to some dark realm, like??

;)

[amvro]

pairing: amuro tooru x reader

summary: he is home late (again) but you love to stay up for him

cw: i would not say suggestive but a lot of kissing implied ? IDK IM SORRY, it’s very short

It wasn’t rare for you to be staying up waiting for him to come home, but tonight he was especially late coming home and he truly did not expect you to still be up. The clock almost ticked 3:30am and he truly wished he didn’t have to stay out so late if he knew you would still be up. He was going to ask why you were still up and tell you about how you should’ve just slept without him, but he knew you would tell him you would be too worried to fall asleep regardless. 

“I’m so sorry I was so late,” he said, apologetically. “But really, next time you shouldn’t mind me. It’s far too late.”

“And it’s far too late for you to be out with no one to greet you when you come home,” you replied with a soft smile. Gosh he was in love with you. “Waiting for you to come home is one of my happiest times, at least let me do this much. Besides, it’s a Friday we get to sleep in tomorrow.”

And you were absolutely correct. Although he’d tell you every single time to go ahead and sleep, it still warmed his heart when he saw you reading a book or scrolling through your phone with a warm tea, waiting for him to come home. The way your face would brighten up when he came home was truly the only thing that could heal him from a long day at work.

“I’ll hop in the shower real quick, so go to sleep okay? It’s still not good to be up this late,” he said as he took off his coat and put his stuff down, getting ready to step into the bathroom.

“Wait,” you said, almost subconsciously.

“What is it, love?”

“Oh, um,” you said, you hadn’t meant to say it out loud. You looked up at him slightly embarrassed. “....kiss?”

A faint blush covered his face as his eyes narrowed and lips pursed. He did not understand how you managed to make his heart flutter from such simple words after all this time, but he did understand that this wasn’t going to go away. He walked right back to you and pressed a kiss on your lips. He was going to kiss you again when he resisted the temptation and kissed you on your forehead instead. 

“Why not?” you asked quietly. You were going to kill him if you kept this up.

“Because I’m not going to be able to stop at this rate,” he said, but you went and kissed him instead.

“But I don’t want you to...” you said. That was it, he was giving in. Saving the country was a whole lot easier of a challenge than the ones you gave him it seemed.

“Okay, now you’ve done it,” he said, kissing you again. 

The shower will have to wait a little. 

[nomazee]

haii :3

could you write how shinsou would take care of a reader when they are sick :0

i’ve been a little sick this week so this would really cheer me up :D

<3

pairing: shinsou hitoshi x reader

word count: ~800

content: sickfic AGUGHHH, friends-to-lovers slash unspecified relationship could be established could be not, cutesy, literally just fluff, vague mentions of puking etc typical sickness stuff

this was such a cute request omg thank you for sending it in! i hope u feel better much love! i decided to do this in bullet point format!

ALSO IM SO SORRY GUYSSS IM GETTING THROUGH REQUESTS SO SLOWLY <//3 i promise i will try to get as many of them done as i can but many of them are like long-fic format so they will take me a bit FEEL FREE TO SEND REQUESTS IF U STILL WANT TO!!! rules are linked here!

OK SO

you're both in the gen ed department + living in the dorms

it's the middle of the week and you've been feeling ROUGH for the entire week but just haven't had the time to focus on yourself between studies and everything

shinsou and you are in your math class sitting together at a two-person desk while your teacher lectures

you're super dizzy even while sitting down, there's a sheen of sweat on your forehead and you feel way too hot overall, you're holding back a coughing fit because you know if you let it happen you're gonna end up puking everywhere

the bell finally rings signaling the end of class and the start of lunch and you can't bring yourself to stand up at all

shinsou is packing up next to you and doesn't really notice your unmoving form until he's slinging his backpack over his shoulder and looking down at you, expecting to see you packed and ready to go but you.... look like you're dying

"you good, man?"

"ghf.......gh...m......"

"alright"

he packs up your stuff for you because he's secretly a SWEETHEART and carries your bag and pulls you up by your elbow with a big sigh

"guess i gotta take you to recovery girl now"

"do NOT take me to recovery girl..."

it's not like you have anything against recovery girl but it's not like she would be able to help you with a sickness and she'd end up giving you a bed to sleep on or just send you to your dorm to rest anyways

you just want to sleep in the comfort of YOUR bed already

you tell that to shinsou and urge him to just walk you to your dorm before you throw up on his shoes

he tells you that the teachers will think you're skipping class but you flutter your lashes at him (it probably looks more like you're seizing with how sick you are) and say something like "you'll cover for me, right?"

he rolls his eyes but. yes. he will cover for you. (he's whipped)

walks you to your dorm with an arm around your shoulders and you try not to collapse from both ur fever and the feeling of him walking so close

your delusions are running rampant in this HEAT

walks you alllll the way to your room and helps you lay back in your bed, pulls the covers over you and everything and your hands are TWITCHING because you wanna kiss him so bad but you'd end up puking all over him in this state

leaves your room for a bit and comes back with an ice pack wrapped in a towel to put on ur forehead and hot tea mixed w honey for when you're ready to drink something

puts the ice pack over ur forehead with a gentleness you've never seen from him before and you're like dying and clawing at the sheets trying not to scream with how in love u are with this guy

"you should go back to lunch man you're not gonna have enough time to eat"

"you're on the verge of death and that's what you're worried about"

"I'M NOT DYING"

stays with you until there's like 5 minutes left in the lunch period and he (unfortunately) HAS to leave

you're holding back a whine because yeah you feel guilty that he wasted his lunch time taking care of you but also... stay here forever?!?! duh?!?!

he notices the hesitant look in ur eyes while he stands up and takes his bag with him and sighs and rolls his eyes all fake-annoyed before leaning down and kissing your cheek and you hold back the urge to swing and punch him because he CAN'T JUST DO THAT AND THEN LEAVE???

"i know you can't stand a minute without me but i promise i'll be back the minute classes are over"

"i'm gonna set an alarm to make sure you're telling the truth about that"

"you can count on me"

you sleep for like the rest of the day and only wake up when you hear your door opening and smell soup and there's totally no way shinsou made that for you except he definitely did because when you ask about the soup his ears are flushed and you're literally gonna kiss him if he doesn't stop being so hot

overall shinsou would be so soft with you in his stupid sarcastic way and tease you about getting sick because he's a JERK but also a cutie so you let him get away with it

would definitely spend the rest of the day sleeping in your bed with you and then also get sick and force you to make him homemade soup (it's only fair, he argues)

[angeart]

How dare Link correctly predict my reaction to teases, how dare (<3) YES I wanna know what prompted the upset, what well meaning thing went so wrong D: And that bit about still hoping to be loved breaks my heart for them

-🎀

the bit about still hoping to be loved broke my heart too, and that's why i needed to include it <3

so, about hermits wanting to help them. one smaller example is them taking a look at scar's tattered wings and suggesting that maybe they could help fix them. which is good!

but this comes after scar having his wings like this for about a year, and it took a long time for him to learn to accept them as they are. he's no longer ashamed of them, seeing them simply as a part of himself now. (the same way his scars have always been)

and, sure, he will still take a chance at having them healed, but it still rubs him wrong, in a way. even though it's a kind, well-meaning offer. because it proposes that he needs to be fixed.

but a whole big issue stems from something else.

we know scar and grian have changed.

grian, in particular, flinches a lot and seems scared. scar, on the other hand, often shields grian, and calls on his vex traits to intimidate the danger away, showing he's not afraid to fight. (he is afraid. he's constantly afraid.) and they're both awfully codependent, clinging to each other and isolating from everyone else.

[1,7k rambles and ~3,2k rp snippets below the cut]

one of the things they leaned into in that other world was their hybrid traits. and they show in the way they interact with each other, you know? the way they express trust and love and know what the other one needs.

well, scar is a vex.

we know there's a mating bite, but that's not everything. him and grian indulge in a lot of biting and blood related stuff. all consensual! grian is a little freak so he likes it!

it's something the two of them do, privately and intimately. it's safe, it's fun, it's theirs. them being insanely in love and ready to give all of themselves over. lose all of control on both sides, at least for a moment, in a world that hardly allows such a thing.

but here's the issue: the others don't know anything about any of it. they don't know what scar and grian have been through. they don't know anything about vex instincts or mating rituals. they don't understand anything about this new thing.

so when they see grian timid, bruised and bitten? and they know that scar seems more violent now, sharp-fanged and clawed?

let's just say they get concerned. and stage a bit of an intervention.

they just want to make sure that grian is okay! it... should be a good thing. except they've separated them and are now cornering grian, asking all these questions and voicing all these assumptions. and it's a bit awful, actually.

grian is pressed into having to explain that yeah, actually, he wanted all of that. that it's love.

but him naming the so obvious damage love just rings more alarm bells. and maybe someone asks him if it's a form of self harm, to allow that to happen to him? like, if grian seeks it out, is it self destructive? is that why he craves it?

and sort of, him and scar spiral about this in different ways.

grian struggles with untangling his way out of it, because what if they're right? what if he subconsciously sought harm? but he liked it? is it wrong to enjoy it? he knows that he had his moments when he was actively trying to bring himself damage. mostly aimed at his wings—plucking out his feathers and such. but is this just another thing like that? a substitute damage of sorts? was he just oblivious this whole time?

grian never had a previous relationship experience, so he really can't tell what is love. where does it end and Something Bad begins? he associates the bites with love, but is that bad? is he wrong? would it feel different if someone else showed him that love is something else? did he just manipulate himself into feeling like this and now he's in too deep?

at least he knows scar would never hurt him if grian says no. if grian doesn't want it. but... if grian wants it... is it self destructive? is that what it means? or maybe he was just chasing the aftermath? the soft care (that scar'd offer regardless)?

his mind is a mess and he can't figure out what his real feelings in this all are. he doesn't know how to figure it out. he gets really confused and worried and scared. (he's terrified that they're right, not necessarily for himself, but because of what that'd do to scar.) (he's scared that scar will blame himself over this. that no matter the outcome, this is inevitably going to mess something up between the two of them.)

in the meanwhile, scar feels like a monster. like maybe he was doing something wrong this whole time. was he enabling something horrible? was he genuinely hurting grian this whole time, unaware?

because he's a vex, and it makes sense to want this on his end, but grian is an avian, and... maybe scar should've questioned it more? shouldn't have been so eager to indulge? did he do something irreparably cruel without meaning to?

through this all, he reassures grian it's okay to take a break from it, or even to completely stop. it's fine! it's always been fine! but despite that, their feelings continue to spiral, caught in a maze they can't escape.

it used to be so simple. back in the vex commune. scar never had to doubt himself and the way they express their love. not when it came to this.

and now suddenly it seems so different. so vile and wrong and horrible. people are genuinely concerned and scar and grian wonder, separately, if maybe they're right to be?

... eventually they both hurtle towards a breaking point. and scar decides he needs to talk to someone about it. and grian decides he needs to be alone for a moment, becoming overwhelmed, needing some space to think.

i really want to tell you about what happens in the talk scar has with the others, but i can't. not quite yet.

anyway, this is where the breakdowns come in. (yes. multiple.)

first is scar's during the conversation he has. he gets to hear a lot of good, wise, reassuring things, but ultimately, he still needs to hear from grian. he's been trying so hard not to influence grian's conclusion to all of this, but. he needs to know grian's thoughts, once grian is ready.

grian is not ready. he's been growing so emotionally worn out from all of this, so volatile and fragile. it's all a bit Too Much.

scar messages him, checking up on him.

are you okay?

and

i'm here waiting for you whenever you come back

and

but i'll come find you if you want me to

and

i love you

... but here's the thing, right? neither scar nor grian are used to comms anymore. so grian doesn't read any of that.

they regress back to what they know.

scar howls.

grian chirps.

and only then does scar's comm ping.

come.

zero hesitation, scar unfolds his wings and jumps off the balcony, rushing towards where that chirp came from. he's being called. he's being wanted.

he'd go anywhere for grian.

he finds grian perched atop a tree. struggles to climb up, but never falters. because grian's now starting to cry, and scar needs to be there.

tucked safely into scar's gentle, loving arms, grian breaks down.

--

with a hitched sob, grian falls forwards into scar's arms, burrowing easily into the warmth and familiarity and security.

he wants to say he's sorry. he's sorry this is so hard for him. he's sorry he can't untangle this; sorry he can no longer tell which are his feelings and which are just things people have suggested he might feel. he's sorry he's making this so difficult. he's sorry he's worrying everyone.

but words evade him as scar's arms provide just enough safety for his guards to crumble lower, making him just sob instead.

--

and believe it or not, somewhere in the midst of this (hey do have a proper talk, if a bit tear-drenched) is scar's second breakdown. (grian's time to hold him!!!) that's where the rp snippet in the previous ask is from. and you'll get more of that in a second.

first i just need to tease the aftermath, because i'm a menace.

after crying and comforting their hearts out, they fly(!!!) back. there's immense relief to wind in grian's feathers, and a dangerous edge of the feeling of freedom it brings, wanting to soothe all the cracks on his soul... but the truth is, his soul is still cracked. and he's still depleted. he knows he's still hovering over something so incomprehensibly fragile. that the smallest prod will set him off and break him again.

they arrive at their nest—scar first, to warn their company not to ask questions, grian second.

it doesn't stop it from happening. grian was right: the smallest thing can set him off.

so he has another breakdown, possibly a bigger one, drawing on far deeper hurt that screams and tears at his heart. and plunges all three other people in the room into breakdowns of their own <3333

(yes that's the part we can't talk about. yet.)

aNYWAY!!! how about some rp bits.

---------------

SCAR

Despite Grian’s crying being entirely contagious— or perhaps Scar is just simply too empathetic and emotional himself— Scar’s had practice with consoling his sweet bird. He knows what he ought to do here. 

He tightens his hold until it’s snug and secure, then pressed a few little kisses to whatever part of Grian’s head he can reach.

And then he talks.

“I knew you’d be up in a tree somewhere.” His voice wobbles a bit, but it’s alright. “I wanted to give you some time… I missed you though. Like immediately.”

He chuckles softly, knowing their bond borders on codependent, even if it’s something they’ve worked on since they’ve gotten home. Still, it’s okay to poke fun at it, he thinks. It’s okay to admit the truth.

--

GRIAN

grian's sobs quiet down a little as scar talks, energy redirected to hook into the familiar rumble of his slightly quivery voice, sniffling as he listens to what scar has to say. 

it's sometimes hard to decipher the meaning of sentences when he gets like this, but scar doesn't seem to expect an answer; he's not asking him anything, and grian's grateful for being given time, a grace period where he can just cling and cry and calm down while scar holds him. 

he laugh-sobs at the note that it was obvious he'd be in a tree. he's given scar a lot of hard time in the past until he figured out that lesson, but now he always knows unfailingly where to search when grian's heart needs him after cowardly isolation.

he comes every time. he comes and he finds him and he holds him. 

grian sniffles, despondent, burrowing tighter in. he chirps a little to encourage scar to go on, to keep talking; the sound of it is shaky, about to fall apart to pieces, but he thinks it still counts. it's still something. a participation, not leaving scar stranded and alone in this.

--

OK LOOK WE HAVE TO SKIP AHEAD HERE BECAUSE [REDACTED] REASONS

--

GRIAN

grian hums again, fond and soft, slumped against scar with utmost trust. and then he finally says it. "'m sorry."

--

SCAR

"Hey, none of that, mister," Scar says, shaking his head into Grian's hair in more of a no than a nuzzle now. "It was a lot, it's okay. You needed a moment."

He places another kiss.

"And you knew I'd be here in a heartbeat when you were ready, right?" Scar grins sheepishly.

--

GRIAN

grian's hands trace idle patterns on scar's back as he gets comforted by words and another kiss. he closes his eyes, taking it in, before replying with a soft little "yeah."

-- 

SCAR

Scar purrs at the affection, openly so. "Doin' a little better now?"

--

GRIAN

grian nods, still right against scar, clingily pressed into him. "yeah, i... yeah."

--

SCAR

Scar doesn't budge, not interested in releasing his darling bird just yet. "...what's on your mind?" he prompts softly, hoping to get a glimpse at Grian's inner turmoil.

--

GRIAN

with eyes still closed, grian lets the pause linger just a moment, before replying with a quiet but honest, "right now? how nice this feels."

--

SCAR

Scar chuckles again, a little anxiety getting settled by that fact, though certainly not all. "Oh, well that's good, yes. I agree with that sentiment entirely."

--

GRIAN

"good," grian purrs, squeezing at scar. "'coz i don't wanna lose it."

--

SCAR

Scar's ears twitch, something awfully depressing in those few words. "Hey, no, never," he assures. "This is never going away, okay?" 

Since he seriously doubts cuddling is about to give anyone the wrong ideas.

--

GRIAN

grian has to swallow several times for his feelings to not go off the rails again. he takes a shaky breath, still squeezing at scar, as if he was afraid he might disappear. "... okay."

--

SCAR

"And neither am I!" Scar tacks on, even if it should go without saying. Even if it may be a little dramatic. But he thinks maybe Grian needs to hear that fact stated with absolute certainty. "I love you too dang much."

--

GRIAN

that gets grian to loosen his grip a little, enough to shuffle and look up. hair messy and eyes glistening and red rimmed, he looks up at scar with so much aching adoration, it feels like he might drown. 

"i think it's okay if— if we love each other in our own way," he says sheepishly. he ducks down, laying his head on scar's shoulder, feeling shy as his hands go back to tracing patterns on scar's lower back. "even if the others don't understand or agree." there's a precipice of a pause, and then the most timid little "... right?"

--

SCAR

Scar's heart stutters, and his ears flick up again with carefully optimistic anticipation at Grian's words. His eyes threaten to flood over again, but the tears feel different, more cathartic, less miserable. 

He tucks his head over Grian's again, brushing his cheek over his locks affectionately, daring to release a few hopeful tears as Grian says what he desperately hoped he might. 

"I..." he starts, still trying not to influence this decision if he can help it, but... "I think so. ...I mean it's—" He thinks of [REDACTED], and chuckles wetly, morphing them in his own Scar-silly way. "It's not really anyone else's business what we do in the bedroom, is it?"

--

GRIAN

grian's hands still against scar's back, simply holding him for a moment as he soaks up scar's nuzzles. there's wetness to them, something that makes grian's heart ache as he worries about all the possible meanings, but hopes against all hope that it's just scar getting positively emotional—a relief of sorts above all else. 

a small strained chuckle makes it past his lips, and he muffles it into a kiss that he presses into scar's shoulder. "right. exactly."

--

SCAR

Scar weakly smiles, giving Grian a squeeze. "...but seriously, I— you know it's okay if we stop, right? If you ever change your mind— and I mean your mind, nobody else's— then it's fine! But... I... yeah." Another squeeze. "I just want to be sure you know that."

--

GRIAN

there's a barely stifled sigh, but no hint of tension pools across grian's back. his hold remains still and gentle, his head idly leaning on scar's shoulder. "i know," he murmurs.

--

SCAR

"Good," Scar states, ducking lower so his forehead presses into Grian for a moment before releasing just enough so he could escape the big bear hug if he wanted. “... you know, [REDACTED]”

--

WE ARE ACTUALLY TAKING ANOTHER LEAP, ANOTHER SKIP, ANOTHER SCRIBBLED OUT SECTION. bear with us <33

--

SCAR

[REDACTED VERY REDACTED] “I mean, I had to learn all this vex stuff, too. It’s not… I mean it’s certainly not the most family-friendly sort of culture but that doesn’t mean it’s wrong, does it?”

--

GRIAN

grian blinks at that, lifting his head in attention. this really surprises him, for some reason. that [WOO REDACTED AGAIN WOW] 

"oh." he takes a moment, leaning slightly back, inviting scar's touch a little bit further. "yeah... yeah, i think he's—" he bounces the words around in his head again, then settles on: "it's a learning curve every way, isn't it? whenever there's new instincts and..." he skirts around the words mating rituals, feeling a faint warmth rise up to his cheeks. he looks away briefly, teething at his bottom lip as he thinks of all the worries he himself used to have, all the mistakes kane made, all the effort and talking and correcting it took for things to finally have it all sink in the proper way. 

he clears his throat, shyly looking back at scar, but then his gaze anchors and softens. his hand travels up from scar's chin, brushing through his hair, tucking a strand behind his ears. "it's not wrong."

--

SCAR

“It’s not?” Scar asks meekly, even though he was the one to propose so first. To have Grian confirm it is so much more important. Because even if they can agree it’s not wrong for Scar to have sought out these things, ultimately he wants it to be right for Grian as well.

Scar chews at his lip nervously, but still tilts toward the offered affection, absolutely weak to it.

--

GRIAN

"mmm." grian lets his fingers brush through scar's hair again, gentle with him at every step. "it's not wrong," he repeats softly.

--

SCAR

Scar opens his eyes, both of them glistening with potential tears, but he offers up a weak, wobbly smile, appreciating every graze of Grian’s fingers. “…is it— it’s not wrong for you either?”

--

GRIAN

grian takes in scar's expression and he leans in for a short kiss. "it's not wrong for me," he murmurs, right over scar's lips. 

and maybe he still feels confused, and maybe he still has some exploring and figuring out to do, just to really settle things in his heart, but he knows scar will be there with him every step of the way. just like he knows that [REDACTED] is right—scar is good for him. 

and he wants all of him.

--

SCAR

The tears fall alongside a pitiful little chuckle, but Scar leans right back in for another kiss, not caring at all for the wetness that streaks down his cheeks. 

They can match now. It’s fine.

“I… I’m—?” Scar falters, and he laughs again, ducking his head down in slight embarrassment. He can’t even bring himself to say it. To even imply that he was worried that he was wrong for Grian. “…okay.”

--

GRIAN

the sight of tears breaks grian's heart. still keeping one arm around scar, hoping it'd make him feel close and secure, he lowers his other hand from scar's hair to his cheek, gently collecting the wetness even as scar leans in for a kiss. (one that grian gladly gives.) 

even though scar doesn't finish his question, grian can connect the dots. he remembers the time when he himself thought he's not good for scar, and he knows how awful and heavy that self doubt was.

with utmost tenderness, he kisses scar's cheek, right in the path of wetness, while his fingers gently brush the tears on the other side. "scar." it's quiet, reverent. irredeemably loving.

he pulls away, wanting scar to look at him as he says this. his wings twitch, brushing over scar's, curling inwards towards him. pressing against scar's sides under scar's wings as grian lets go of his back in favour of cupping his face, thumbs brushing over cheeks.

"scar, you're good for me."

he strings up the words, slow and deliberate and certain.

--

SCAR

It’s Scar’s turn to break again, clearly, as his eyes water over and big, wet tears fall down his cheeks and collect over Grian’s hands. He doesn’t even have words to respond with, just wide, grateful eyes and wobbly lips that can’t decide between a cry or a smile. 

His hands also find their way over Grian’s, though one escapes to run his own thumb over Grian’s cheek in turn, still feeling the dampness there. It’s oddly comforting.

“…sometimes I worry the hermits don’t think that,” he admits, gaze flicking away as he tries to keep a strong facade. (Hard to do while he’s actively crying, but it could certainly be worse.)

--

GRIAN

"oh, scar." grian sighs, heartbroken, brows pulling into a pained frown upon hearing that admission. he can hardly bear this, knowing scar's been made to feel like this.

he leans in to press a kiss to his forehead, wings slinking further along, wrapping around scar right underneath his vex wings. he wants to cocoon them into warmth and safety, away from these treacherous feelings.

the hermits managed to somehow break both of them down, with nothing more than good intentions.

grian hates the uncertain, askew feeling that pushes bitter bile up his throat, telling him maybe they're not quite right for this place anymore. that they forgot how to belong, but nobody has caught up yet and still expects them to be their selves that they can no longer reach.

“you know [REDACTED I AM SO SORRY]” he attempts a smile, though it's hard. he tugs at scar, wanting to pull him in for a hug, tuck him underneath his own chin, all safe and protected, but he leaves it up to scar whether he wants that or needs more breathing room right now. 

"maybe they need time. i... i've been hiding away a lot and. honestly i don't think they can tell what's good for me anymore. not right now." it's hard to admit. "even if they mean well." but well-meaning that hurts both him and scar is just meddlesome. 

maybe they needed this though, in a way. it would be better if it came from a different place, subtler, gentler, but still. maybe they needed to work through exactly these feelings.

"anyone who says you're not good for me will get smacked," he threatens, remembering scar's (and kane's) offers to bite people who look at grian wrong, in a way returning the favour. "'coz they're wrong and they have no business spewing nonsense."

--

SCAR

Scar gladly takes up the offer to be smothered in affection, and he boldly chooses to corporealize his wings fully and gently tug them around the base of Grian's, knowing well that wing-on-wing contact is almost always acceptable. And right now that sort of thing brings immense comfort to him, too. It's something they both share, after all. A pair of wings and a pair of patched up hearts.

"I know they mean well..." Scar whines into Grian's chest this time, and though there's no cozy shawl to bury himself in, it's just as comforting. "but they don't know everything, and... and I know that's mostly on us, but god it's just... it's so much sometimes, Grian." 

It's not exactly pleasant to recall those memories. To try to explain just how horrific it was to their old friends. To look them in the eyes and admit that they're different now because they had to be. (And how they still hope to be loved despite it all.)

--

GRIAN

grian wraps scar up in his arms, holding him close. one hand in scar's hair, the other sliding down between his shoulderblades, rubbing at that point between his wings, unaware he's copying exactly what [REDACTED] did earlier.

the pressure of scar's wings over his own helps him settle a little, gives him comfort and courage through this glass-shards of a conversation.

"they don't know everything," he echoes quietly, kissing the top of scar's head before he leans his cheek on it, cradling him. "i just wish..." he closes his eyes and tugs at scar, holds him a little bit tighter. he doesn't really know how to finish that sentence; all the words feel like they're crashing and splintering over sharp cliffs.

all that's left in the rubble is a weary sense of defeat. "it is so much," he agrees. "it's so tiring to... they expect us to be..." he doesn't finish any of his sentences, but he wonders if scar understands anyway.

--

SCAR

Scar understands perfectly. He nods softly as he listens, lulled in by those soft touches, tears drying as he lets Grian’s presence fully engulf him.

“…they expect us to be the same,” Scar finishes for him, certain that Grian’s had the same trouble he has, though perhaps to a different degree. “And… maybe we won’t ever be. But… I don’t think all the ways we changed are bad. Like— sure, we’re still messed up and jumpy and… and I mean, frankly traumatized, but…” There’s an effort to poke his head up, but Scar finds himself too reluctant to leave the comfort of Grian’s arms just yet. “We’re also in love. And… we have a new appreciation for life. And each other.” A half-sniffle, half-chuckle gets stuffed into Grian’s chest. “…is that too sappy?”

--

GRIAN

grian chuckles mirthlessly at the list of things they suck at, their reactions and trauma stitched close to them like their shadow, endless and monstrous, looming behind their every step. but scar is right: they have changed in so many messed up ways, and they might never be the same, but... it's not all bad. 

"we're in love," grian echoes, a notch lighter, just a little bit amused that the list of dark things ends with a complete shift, plunging them into sappiness. it's such a scar-like thing to do; he's aware of just how bad things have gotten, but that doesn't mean he won't fight to dredge up every little optimistic and hopeful thing out of it anyway.

grian loves it. it's gotten him through many dark times, this quality that scar has. his tenacious way of thinking and latching onto bright things, even if it's a barely flickering flame amidst complete, terrifying darkness.

he kisses his head again and then nuzzles against his hair, humming. "it's scar level sappy," he replies, mulling it, before landing on: "which means it's perfect." 

the only time scar's level of sappy is too much is when he's flustering grian, but he's not going to point that out, in case scar takes it as a challenge to compare the two right here and right now. (he'd be capable. grian knows.) 

he rubs at scar's back again, humming a soft melody, wanting to calm him further. but there's one thing even he can unearth from the ashes, something written into all their stitches and scars.

"we survived." 

nothing can beat that. no matter how they've changed, or what they can now see in a different light.

they made it.

"and we're good for each other."

--

SCAR

Scar giggles at the term. Scar-level sappy, indeed. His own brand of optimism, wrapped in layers of insecurity but boundless levels of adoration. 

And it got him this far, didn’t it?

“We survived,” Scar repeats, because that’s so damn important. They survived. And they did it because they were together.

Because they’re good together.

“…the power of love,” Scar adds, soft and sentimental and maybe just a bit goofy, hoping to turn the tides from tears to mirthful laughter.

--

GRIAN

once again he gets grian to giggle in a fragile moment—a talent scar has and grian values. in retaliation, he shifts his hands, brings them much closer, until he can tease at scar's ears. 

"we survived, so now i can do this!" his cheeks are still wet, and he feels depleted from all the heavy emotions, but he still manages a grin as he tries to make scar squirm.

--

SCAR

Scar barks out a fit of genuine laughter, somewhat startled by the shift, but he can’t complain when his lips are suddenly tipped into a bright smile and his ears are flicking wildly at the affectionate abuse. 

“Hey!! No fair! I’ve been so gentle!!” he cackles, already shedding that mercy and tickling at Grian’s ribs.

---------------

aaand i'm going to end on this note (because you know it devolves again. we're good at making things fall apart repeatedly <3 a great angst loop if you ask me.)

but, i'm going to leave you with a little bonus. which is what me and link talked about today. on this same topic, really.

which is how scar changed. hermits know him as the guy who dies a lot, right? also easily distracted, carefree, easily dissipating into giggles, easily brushing things off. all of that.

he could get startled by a fly. he'd yelp and stumble and fall over when he got scared.

but that other world forced other things on him. it forced him to be brave, or at least, to seem like it. forced him to fight to keep himself and grian safe. fight for them both to survive.

now when he gets scared? there are wings and claws and fangs.

he couldn't show weakness in that world, you know?

and it sticks. it sinks its talons into him and holds.

the only person he shows weakness around is grian. and... maybe if he'd been willing to show it more around the other hermits, they'd see that he's still scar.

that he's still scar and he's hurting and afraid.

(yes blame link for this heartbreak brb sobbing with u)

also. a potential conversation:

someone saying to grian (while scar is also possibly there): "scar came back... wrong."

grian angrily counters with "no, scar came back different but not wrong."

and then

quieter

"... i came back wrong."

because, think about it. scar changed, but it can be argued that some of it is better and he's just being misunderstood. but grian? grian can't imagine any good coming from how he's now.

he didn't grow braver or kinder or stronger or any of those things. he just caused [REDACTED]. he's a scared, hurting mess. there's nothing good about him now.

as link said in our discord dms: scar needs to scoop grian up and remind him that he's here for the whole ride. he'll be here while grian learns to heal.

because he will heal.

[necrotic-nephilim]

i recently remembered DickTim Week 2024 is happening very soon and i looked at the prompts again to see if i could get anything out for it and. the Hades & Persephone AU prompt for day 1 has got me really thinking so here's a vague concept i plan to write.

i've been pretty burnt out on modern Hades & Persephone retellings because of how they always seem to fall into the same generic "innocent wide-eyed girl runs from her evil mean mother into the arms of a dark mysterious man because actually she went willingly and chose to marry him" which has gotten repetitive for my tastes. (for clarity i don't care if this retelling is your cup of tea personally, so long as you're not actively trying to rewrite the original myth and claim untrue things about it, if this is your favorite flavor i sincerely hope you enjoy the buffet i just have little interest in it since it feels overdone for me and exhausted of it's supposed commentary atp)

but? but. biblically accurate Hades & Persephone AU has me all kinds of interested. because wait listen so hear me out right. Hades!Dick and Persephone!Tim, obviously. i feel it'd be more loosely inspired by with themes and imagery (though playing with death and nature powers could be interesting, i haven't decided) rather than explicitly making them gods and all. but. something dark and fucked up where Dick and Bruce are especially estranged. maybe to do with Jason's return, maybe to do with them just clashing and having their usual explosive arguments. and Bruce knows the peace needs to be kept, if he and Dick are at odds then everyone starts to pick sides and things just fracture so he needs a peace offering.

and the peace offering is Tim.

Bruce (the stand-in for Zeus) offers up Tim. agrees to have Tim move to Bludhaven and be Dick's... whatever Dick wants him to be. knowing that with the implication comes the likelihood of Dick grooming Tim. and Tim has no real say and is hesitant to put up a real fight. he doesn't want this, he knows what this is going to imply Dick will do to him, but he also knows if he says no things have the possibility to just... fall apart. so he's the unwilling bride, dragged off to the metaphorical underworld (Bludhaven) with Dick, away from his family, his friends, the life he built.

and on the flip side, i think weirdly enough, your best pick for the Demeter stand-in is *Jason*. just, hear me out on that. not necessarily on the side of it being motherly, but on Jason being just estranged enough from the Batfamily to be the one willing to call it out for being bad and wrong and raising bloody hell to get Tim back. maybe it's because Jason wants Tim for himself, maybe it's truly out of a concern for Tim to have autonomy, i'm toying with the idea of it primarily being Tim's POV and him genuinely not knowing which of these is true. (and the truth possibly ends up being a complicated middle ground) and because i like Helena, i think you can use her as the Hekate stand in, the one who strikes a tentative alliance with Jason and tries to go find Tim and bring him back. Tim stuck with Dick, getting groomed and hyperaware of it, possibly even getting fucked the whole time as well, knowing he can't go back without causing massive issues for Dick and Bruce because well, Bruce did promise him to Dick. so he has to adjust his whole life, try to figure out being a vigilante in this new city with Dick breathing down his neck the whole time.

and then much like the ending of the myth, a sort of compromise is struck that's a shaky deal for everyone involved. Tim is put on an essential timeshare, going back and forth between Gotham, where he has friends and family and a support system, then getting dragged right back to Bludhaven with Dick in this brutal cycle that he slowly gets used to and stockholm'd into even liking it. Dick isn't so bad, once he gets used to the quirks of their unbalanced 'relationship'. the sex is even something he can adjust to as well. not quite a happy ending but one that sits in this realistic grey area that becomes Tim's life.

i will write this, eventually, but i don't know if i'll get to it before DickTim Week ends so by posting the idea i'm essentially putting it out into the world so the peer pressure holds me accountable. i just. really like the potential of making Hades/Persephone AUs as fucked up as they can be simply by adhering to the source material and making it a raw story of being stolen away and forced to like this new home you didn't ask for.

also a less fleshed-out aspect of this idea i have ties into Persephone becoming the Queen of the Underworld when she's taken and how the transition from Kore to Persephone could be reflected in Tim. how he makes the best of the worst situation and becomes something far more dangerous and dark when he's in Bludhaven, possibly takes on a new vigilante name/identity and leans into the worst quirks of his personality he tries to tamper because there's no point in not going full tilt Obsessively Weird if he has no choice anyway and it being one small way he takes back his autonomy, and that inevitably making Dick *more* into him, because he gets to see Tim finally just. let loose.

[phantomoftheorpheum]

The Umbrella Academy Season 4 Review/Critique

Fair warning- this is ridiculously long. If you expand this post and don't actually want to read it, it will be a pain in the ass to scroll through; I would advise against it.

Just to be 100% clear, these are my opinions and interpretations of the show. If you don't want to see criticism (and quite a lot of it) or read a pretty raw, unfiltered/unedited review of the season, this is not for you. This is a casual platform, so I tend to just let myself think out loud on these posts, meaning that I don't go back and heavily edit my thoughts. I may express ideas for the storylines that would need some refining, I'm generally just spitballing.

This is a very criticism heavy post, I have a lot of issues with this season, so if that will upset you, please just don't bother to read this. I will be tagging anti tags (due to the large amount of criticism I have for the show) for filtering purposes.

*** Spoilers for all 4 seasons of Umbrella Academy ***

Good Stuff First

I always like to start with my favorite stuff from the show, because usually if I am bothering to critique, it means I have a lot of criticisms, but I always want to acknowledge what the show does well before I start getting into what it does not do well.

Individual Characters & Dynamics - In particular, I thought Klaus's unique character voice was present and well written and the performance continued to be top notch (I have some criticisms about the actual storyline, but I think Robert nailed what he was given from an acting standpoint). Many of the specific dialogue and character dynamics felt consistent to earlier seasons, which can be difficult with such a wacky show. There are definitely some characters who were able to shine, regardless of what they were given.

Visuals/Sets - The show still looks as good as it ever has. It's never been groundbreaking cinematography, but you can feel the budget in the aesthetics of the show. It has been able to maintain this weird "almost our world, but not quite" reality in a visual manner since season 1. It has a distinct style and look. The sets largely feel big and textured and expansive, even when they're fairly simple. I like that we've at least glimpsed the house in every season.

Tone/Humor - The Umbrella Academy is weird. It has always been weird. It must be weird or else it would feel... bad weird? It does succeed in continuing to be weird AF. I like that the show isn't afraid to be incredibly strange. It is a show that swings big. The humor is still there. Humor is hard, and I think they hit more often than they miss.

Family Road Trip - The group dynamic, family bickering, montage effect of 4x02, etc. was one of the lighter and more enjoyable choices made in season 4. The bit of "annoying song stuck on a loop" that continued to crop up throughout the season worked for me.

Abigail Completely Failing at Being Gene - This is only a very small part of the season, but Nick Offerman playing an alien cloaked in a (very weird) human skin and very poorly pulling it off added some levity while it lasted.

Soundtrack - While I think there are fewer distinctly standout tracks for this season (but this is entirely a personal opinion, maybe others feel differently), the show's commitment to its distinctive sound and use of music is still solid. I particularly appreciated the callbacks to season 1, obviously I Think We're Alone Now, but also by selecting Dead To The World in 4x06 for Five (I prefer In The Heat Of The Moment as a song, personally, but the choice was very clever). This is a show that I genuinely like to go listen to the soundtrack of after the season, and I intend to do that with this season as well (except for the Christmas stuff, I am not a big Christmas songs person).

The Cast - This is related to point one, but I really think 99% of the cast did they best they could with the material they had to work with.

Despite all my criticisms, I still found myself sad to be at the end of the journey. And I think that says something about the strength of these characters. A perfect journey? No. But one I'm still glad that I took.

My Criticisms

I want to start by saying that if I bother to critique something, that means I believe it has enough potential to be worth discussing. If it didn't, I absolutely would not bother. So while I think this is going to come off quite harshly, it is coming from a place of "I love what this show can be when it's at its best, and here's how I personally think we could have been closer to its best."

A lot of times when I write up my thoughts about a show, I start with my most specific criticisms, and as I examine those, it points me to a bigger underlying issue. Sometimes I work the other way around, thinking about the larger elements I have criticisms of, then searching out examples. But in this case, either way, I find myself ending up at the same place with the same issue, and that issue (perhaps ironically for this particular show) is time.

I believe the largest issue with season 4 is time management, crafting storylines that are interconnected and therefore justify their screen time, and pacing. Yes, I have some criticisms that could not be fixed with better time management, but a lot of my issues lead back to this. Pacing is always a tricky element, is at the top of many criticism lists of many shows, and has been at the top of my list for several shows I reviewed this year. Pacing issues seem to be cropping up more and more with streaming service based shows on all platforms, and I don't think that's coincidental. But, imo, Netflix is our best example.

One of the greatest strengths of Netflix Originals, back when they first started, was the guarantee of a full season before a cancellation. Because they had no feedback on a show before producing and releasing an entire season, there were no early mid-season cancellations. This allowed writers a little more room to stretch out, knowing they wouldn't walk into work the next day and be told they have 2 or 3 episodes to wrap up a story, or worse, wake up to just no job at all. So while the seasons were shorter, the time was guaranteed. Many of Netflix's early properties, particularly if their first season was successful, were greenlit for multiple seasons at a time, a practice which has been all but abandoned (Bridgerton and Stranger Things have been afforded this luxury in recent years, but few other shows). But as Netflix (and other streaming services) got its legs under itself, it came to realize that there was more profit in producing the first season of many shows, then cancelling all but the most successful. This epidemic of unfinished stories has been spreading rapidly. Now, not only does Netflix have an extremely high cancellation rate and rarely renews a show for more than a season at a time, it has also been shortening seasons, bringing down production costs, and trying to minimize risk and maximize "safe" profits. Minimizing risk in favor of maximizing safe profits rarely results in good art. Which explains a lot.

And so, unfortunately, I think The Umbrella Academy is a casualty of this increasingly mercenary system. Not only was it forced to make creative decisions with the constant threat of "This could be the end, but you won't know it until after it airs, so it also has to work as not the end," during the first three seasons, but though it got warning of its final season, it received a limited run to complete the show. Now, I can't fault anyone for wanting to write each season as a possible ending, considering how often Netflix cancels shows. Is this smart? Yes. Is this also limiting? Yes. And shows like The Umbrella Academy, with universes that become increasingly complicated with increasingly detailed lore, suffer quite a lot when trying to contain a story to each individual season. And finale seasons are particularly difficult. Expectations are high. Netflix's production model gives audiences years to build up their anticipation for the finale. Too much time to think, to pick holes in what has already been created, to cool to something they were once passionate about. Delivering a genuinely satisfying finale under these circumstances would be a daunting task.

But with all that being said. Season 4 only has 6 episodes, and it somehow manages to waste so much time. I don't know what's in the water over at Netflix, because I don't know if anyone knows how to waste limited time like Netflix does. If it weren't so irritating, it would almost be impressive.

The truth is, very few of the main characters really matter to the overarching plot of the season, which is a very weird choice, particularly in a final season. It's basically Ben, Jennifer (who we barely know and just met), Hargreeves, Abigail, and tangentially Viktor. Five & Lila are basically completely taken out of play for an episode and a half, where their actions have practically no relevance to the main plot, and the critical information Five gets while using his "new" power could easily have happened without this storyline. Luther & Diego are similarly sidelined by the CIA storyline. And, again, Klaus & Allison are occupied with a side plot that removes them from the main conflict of the season and does not tie in to the finale.

I do not mind the centering of Ben & Jennifer for a season of the show in theory, but with only 6 episodes to tell this story, I think it was a stretch to believe they had the time to do this plotline justice and waste so much time elsewhere. I don't know if this was solely a me issue, but I just... didn't care about Jennifer. I mean, sure, I rooted for her in a passive "she seems nice" kind of way, but even by the end we barely know anything about her. I can live with a "cosmic connection" insta-love situation between Ben & Jennifer (not my favorite trope, but it can be okay), but just because Ben instantly connects with Jennifer, that doesn't mean the audience does. And, to make matters worse, this version of Ben is one that we don't know that well, anyway. Like... his defining character trait is that he's mean and angry. I didn't mind that in season 3, as he was new to us and at odds with our protagonists for most of the season, but we don't really learn much new about him in season 4, either. The bit of Ben's history that we get is from Umbrella Ben, not Sparrow Ben. And Sparrow Ben's personality and history isn't touched on. Why is he like this? It's never explored, not beyond the shallow "the Sparrow Academy wasn't raised as the family that the Umbrella Academy was" that was established in season 3. The fact that we know so little about this version of Ben makes it harder for me to connect with him, as well. So to center these two characters in the final season, and then not even give us scenes to flesh them out as individuals, it just feels like such a waste of time. It didn't need to be Ben and Jennifer. In fact, it very much felt like it was only Ben and Jennifer because everyone has always wanted them to tie "the Jennifer incident" into everything. Again, I think this plot could work fine if given the correct amount of screen time, but as it is, it feels rushed and shallow. We might care about Sparrow Ben (might), but we don't have much reason to care about Jennifer.

Lack of direction - There are only six episodes in this season! Every minute needs to be used wisely. This should be the most focused of all the seasons, every storyline streamlined to tie into the finale of the show. Which is the opposite of what we got. For the vast majority of the show, nothing Klaus or Allison does matters. Nothing Diego or Luther does matters. Nothing Five or Lila does matters. Sure, those storylines touch on individual character development, but when you're planning to kill everyone off in a couple hours anyway, why are we starting down unconnected character arcs that are destined to be left hanging? Every bit of interpersonal character development should be written in a way that ties into the finale plot of the show, so scenes can pull double duty and maximize the limited time available. What was the purpose of Lila and Diego fighting (other than to physically separate them)? What did they learn? How did they change or grow? They didn't. They are split apart, sent down different dead end roads, only to be gathered back up in time to die. They speak words of understanding, but we don't actually get to see them learn or put those changes into practice.

I think about it this way- if Lila and Five had gotten lost into the weird limbo subway system and we never saw what happened to them, and instead they just reappeared from that adventure for the finale, would that fundamentally change anything about how the show’s main plot plays out? No. It wouldn’t. If Klaus had stormed off in 4x03 and Allison had gone after him and we’d never seen either of them again until the finale, would that fundamentally change anything about how the show’s main plot plays out? No. It wouldn’t. If Diego and Luther had gotten their CIA passes and walked into that building and vanished from the story until the final episode of the show, would that fundamentally change anything about how the show’s main plot plays out? No. It wouldn’t. Even Viktor, who is directly addressing the main plot point of Ben & Jennifer’s connection becoming apocalyptic, has very little impact on that storyline leading up to the finale. He speaks to Ben once, he insists on trying to save Ben, and spends the rest of the time working through personal issues with his dad or being attacked in a sequence that has no consequences. The conflicts that these characters encounter have very little bearing on the physical events of the show (they get shot at, they escape. They fight, they escape. They are chased, they escape) and what are the specific consequences? There aren’t any. Viktor gets to use his powers to save Hargreeves and gets shot (I think??) doing it, but he’s fine, and it doesn’t change their approach or goals in any way. Five and Lila are trapped together for years and have a romantic relationship, but then they “go home” and it doesn’t lead to any of the characters deeply changing or acting notably differently in the following events (Five and Diego fight at a bad time, we get a funny reaction from the other siblings, etc. but it doesn't change anything) and then it is never truly resolved. Luther and Diego go to the CIA and this plot is used as a vehicle to reveal the villainy of Five’s boss (so??), but ultimately Luther and Diego get a big fight sequence, learn very little, and take up a lot of screen time for a reveal that could easily have happened in seconds. None of their actions in this storyline blatantly effects the outcome of the show. And Diego feels set up for some character work, but all it really leads to is him being like "I get it," and that change never getting a chance to be actionable. Allison and Klaus reconcile, but only after a lot of screen time is spent on another side quest. Do they really change as people from this story? We don't know because there's not enough time to see. This is clearly not a legit substitution for actually addressing the issues between them, but we don’t have time to do that, either. Not to mention, the conflict between Klaus and Allison isn’t some slow burn issue. It’s doesn’t exist before this season. What is the point of any of these plot lines? Why send Allison and Klaus off together to resolve issues that we only just found out exist, when Allison has canonically been estranged from all of her other siblings since the events of season 3? That is blatantly an unresolved issue, but instead of using her screen time to address her season 3 actions, they create a whole new issue for her and Klaus to fight and then reconcile about. Wouldn’t it be much more interesting to see Allison and Viktor work through their issues once and for all? Or to address all of the ways Allison betrayed Luther in season 3? What about Klaus reconnecting with this version of Ben? What about Luther working through being betrayed by his father? What about Diego and Lila actually being parents? What about really getting to see how this life that Allison sold them all out for isn't even the dream she thought it would be? What if, instead of getting a montage of Lila & Five’s romance, we got a montage of Jennifer and Ben finding and destroying each other in many different worlds? You want to sell me on this tragic, cosmic connection between them? Okay. Sell me on it. Make it hurt. 

Five - I'm just going to be brutally honest here- I believe Five is the strongest driving force of the show and his sidelining in season 4 was a huge mistake. Five might not be the emotional core of The Umbrella Academy, but he is absolutely central and critical to what has worked well in previous seasons. And yet, in season 4, he's pushed to the side and basically written out of the main plot for half of 4x04 and all of 4x05. And then, even when he is around, he's lost a lot of the elements that make him a fan favorite. Let's talk about that- in season 1, Five's return and his mission is where it all kicks off. Yes, technically the inciting incident is Hargreeves' death, but gathering the family without Five's arrival would have been useless and led nowhere. Five drives the entire plot of season 1, while the rest of the siblings get character arcs around him. He makes things happen. He withholds information from his siblings and from the audience. Without him moving the plot forward and tying things together, season 1 would have been a disjointed mess. In season 2, we follow Five's attempts to reunite the family and fix yet another doomsday. Again, he is the one that pushes the plot forward, while the other siblings wander down various other storylines (which is not to say that they are not involved and don't contribute, just that they don't move the plot along to the same degree). In season 3, Five attempts to "retire," but pretty quickly he's back in the thick of things in search of answers and solutions. He is set against Hargreeves in an intellectual face off and is ultimately the one who pieces together the hotel's puzzle. He also discovers that he is, essentially, his own nemesis and behind a lot of what happened in previous seasons (a storyline that feels like it had a lot more to give, possibly, but is abandoned and explained away as "something a version of him did in some timelines,"). But in season 4, Five is... Well, he's suddenly not that relevant. He starts out fine, undercover and attempting to infiltrate The Keepers, and he does push the initial plot forward with his investigation, but then he just drops off the map (literally and figuratively). Five, who has always been the character to seek out answers and the character the audience trails through the bigger plot points of the story, is suddenly out of play. Now we're watching him wander around the multiverse (presumably for an attempt at character development, which ultimately falls flat) where he learns nothing important and falls unconvincingly in love with his brother's wife for an episode and half. Why? Because... they didn't know what to do with him? Honestly, I can't explain why. Five's acerbic wit, his tendency to be one step ahead of the audience, his cockiness, the uncanny personality that is a quirk of being an old man trapped in a young man's body, his absolutely brutal and ruthless methods to protect his family, and his cool fight scenes, it all just vanishes. Suddenly, for the first time, he feels the age of the actor. He feels erased long before he literally is. After 3 seasons of him having one of the coolest powers that leads to some of the coolest scenes, we're suddenly in a world where everyone else has some useful version of their power, while Five's kind of sucks. And like his teleporting power only reappearing at the very end (spurred on to save Lila specifically, rather than his family, because ???), Five's personality is frequently missing. Which leads me to-

Five and Lila - This may be a controversial opinion, but in concept this could have worked. Am I mad at the idea that two characters who are stuck together for years with no one else as company might fall in love, even if they're an odd pairing? No. Like I said, it's okay in concept. But only in concept. In reality, there was neither the time, nor the necessary casting to make this storyline hit properly. Regardless of Five's character's age, or the fact that his actor is (technically) an adult now, this felt flat out wrong to watch. Not only does Five still very much look like a teenager (inevitable, as while Aidan has aged over the course of filming the show, the age of young Five would now, still, vastly outstrip his real age of 20), but we also know that Lila was introduced to him as a child. Lila and Five meet in season 2, in which he is (physically) still a 13 year old boy, while Lila is an adult woman (considering she has the same birthday as the rest of the Umbrella Academy, this would put her at approximately 30 years old at this time). Yes, the exact ages of these characters is a bit messy to track, but no amount of text on the screen telling me so many years have passed is going to allow me to forget this detail, which makes this whole situation, at best, deeply uncomfortable. The fifteen year age gap between the actors is incredibly evident, and this romance is ultimately completely unnecessary for them to evolve in the (frankly minimal) ways that they do. They also pretty brutally sacrificed Diego's character for this. All of Diego's negative traits are cranked up to 100 this season, while Lila's are generally turned down to a low simmer (until she nearly dooms everyone to a meaningless death). While I don't think their relationship being on the rocks, or either of their character's struggle to fit into domestic life, is a bad idea, I again find myself questioning what the point of this storyline was for this particular season. We don't get much of a conclusion. Diego is basically a buffoon all season, Lila is less blatantly fucked up most of the time and also somehow less likable for it, and Five feels out of place in this storyline. Why did we do this? As far as I can tell, it's because they didn't have any other ideas to keep these characters busy while the actual plot happens around them. That's really not a good reason to blow up a dysfunctional but well liked dynamic (Diego and Lila) and never even bother to mop up the blood. And that leads me to-

Lila - Just, in general, I found myself asking "who in the writer's room is ridiculously obsessed with Lila, because that is the only explanation for any of this." For example, Klaus names everybody's problems and can't think of any real issues for Lila?? LILA? Her erratic, risk taking behavior and serious mommy/family issues are the most intensely Lila thing about her?? This is what her entire character is built upon? Why are we acting like she's not been a complete wildcard for the last two seasons?? Her new power doesn't make any kind of sense. Everyone else basically got some version of their old power back (and we eventually learn that Lila does have that power back as well, despite wildly underusing it), but now she has laser eyes.... Because? Her inability to properly control the laser eyes is funny, but also doesn't make any sense. In previous seasons we see Lila quickly adapt to using new powers only moments after acquiring them. If there is any one single person in this whole show who should have adapted to a new power immediately, it would be Lila. And somehow, for some reason, they center Lila during the finale conflict. Everything rests on her decision to stay or go. On her connection to her family (despite us barely seeing her in a room with them all season), instead of literally any of the main Umbrellas we've been following all along. And she gets the last line of dialogue from our main characters. We spend an extended sequence watching The Umbrella Academy slowly sacrifice themselves and Lila gets the last word?? And all of this is coming from someone who actually really loved Lila in seasons 2 and 3. She was one of my favorite characters coming into this season, but this... It just felt blatantly disrespectful to all the other main characters.

Everyone Dying is a Bummer - Okay, don't get me wrong, I'm not set against tragic endings in general, but... I don't think The Umbrella Academy earned this ending (at least not in this way). This idea of the world being better off without them, like they are a mistake that fundamentally ruins the world and must choose to sacrifice themselves in the name of saving humanity, that would (could) be fine. Except that it doesn't feel thematically well supported by the previous seasons, or even just season 4. At its heart, seasons 1-3 followed the ups and downs of Five's journey to save his siblings from the apocalypse, even though they are the ones to cause it. This is his entire goal. He wavers, he actively tries to walk away from this, but he cannot help himself, he always comes back around to this goal. This is what we buy into in season 1. So the idea that this is impossible and that they all must die anyway, feels antithetical to why we are asked to care in the first place. We haven't been asked to care about the world (not in any tangible sense). We watch random, innocent people, or vaguely antagonistic people, get killed in horrible ways left and right in the show and we are not asked to care. We're often asked to laugh. We care about them saving the world because we care about them saving the family, this dysfunctional group of oddballs. Sure, on a very basic and fundamental level we don't want humanity to be wiped out, but the humanity of the surrounding world is never deeply touched upon in the show. And their death wipes out infinite universes. We're told this is "right," but we don't tie any real emotional stakes to it.

Season 4, which centers around saving (or failing to save) Ben and Jennifer, around Viktor's desire to find another way because he loves his brother (even this version of him) and his siblings have always fought so hard to find another way because they love Viktor, asks us to care for these same reasons. Not for the world, but because we care about these particular characters. And the writers decide to sideline Five, whose centering I believe is absolutely essential to pulling off a "they must all die at the end" storyline to begin with. Why? Because he's the one who has fought so hard to save them. To have him not be at the center of the storyline where saving them is not possible makes absolutely no sense. Do I think that a final season where we follow Five coming to the conclusion that they are all doomed could possibly work? Yeah, if they had (and here it is again) the time to dig into that story and show us how he grapples with and fights that resolution tooth and nail until he cannot anymore (they point at it with the diner scene, but don't have the time to let us feel the weight of it). But they don't do that. We don't get to follow him throughout a season trying to cope with this impossible truth. Instead, he accepts that fate in a matter of onscreen minutes and with immediate resignation. (Yes, you could argue this is what he has been doing the last 3 seasons, but we're never truly given the impression that he is trying to prevent an absolute inevitability, only that he is trying to prevent a specific reality). It undermines the foundation of his character, and because Five is the driving force of the first three seasons, it undermines the foundation of those storylines as well. With the limited amount of time they were given to wrap up this show, instead of ending with a "everyone must sacrifice themselves" storyline, I would have, instead, centered Five's personal journey in season 4, which concludes with him realizing there can be one universe in which his family can all live, but only if he dies. They live, but he must sacrifice himself and be erased from existence so they will never mourn him, never know him, never know to be grateful. What could be more fitting for the show, more simultaneously sad and happy, than Five achieving what he set out to do in 1x01 and saving his family and that costing him everything?

Now... how to work that in and fill in some major plot holes at the same time? Well, I have some ideas, but I'm gonna save them for a different post, because while writing this review, I found myself re-outlining season 4 and trying to fix some of nonsensical elements of this season and if I get into that, it needs its own post. But I think it could be done. And speaking of nonsensical events.... Why do the Umbrellas have to die now? Like, logistically speaking, if The Cleanse is a necessary event and every single other world except the "perfect" timeline ends in apocalypse, then why can't they jump on that subway to a different universe where they have more time to be really, truly sure that's the only answer? At the very least they would have had a chance to really say goodbye to each other. We know there are plenty of universes where Ben & Jennifer both exist, there's no reason it has to be now. Since there are infinite "wrong" universes, they have all the time in the world. This is not a decision that has to be made exclusively in this moment, despite being portrayed that way. They don't die, The Cleanse doesn't work, they fact check their solution in a different universe, they get a chance to say their goodbyes, etc. etc. The urgency makes no sense. For that matter, why doesn't Five blip them all down to the subway where the show has already established in this season that time does not pass, so they can have a real conversation about this? There is literally no reason not to do this. They, quite literally, have a character who can take them to a timeless limbo where they can take as much time as they want/need to sort this out. They, quite literally, have that character take an entire family to this place, proving that he is capable of bringing a group of people there, and they don't use it.

It Doesn't Get Better - One of the major themes of Umbrella Academy is dysfunctional family and the way we cope (or don't) with childhood trauma. How burying that pain is destructive and hurts the people around us. And while I don't think the show's intent was to send the ultimate message of, "Actually, it doesn't get better, you'll never heal those wounds, and your existence is a destructive mistake," that's... kind of what it implies anyway. Throughout the whole show we explore the ways these characters are trying to work through the abusive household they grew up in, to move past the things that happened to them, and we watch them process and come together as a family and stand up against their abuser and grow into better versions of themselves and lose their way and pick each other back up. And then we're told that it doesn't matter because they all have to die. It sends a strange message. Personally, I think the show may not ever have intended to really send a message at all. It's absurd and irreverent and tragic and silly. It has never shied away from violence. It's always had a bit of a flippant nihilism hanging about it. And I think there is an argument for "People don't always get what they deserve. Sometimes they just get the short end of the stick and it sucks, but that's just how it is," being an underlying theme worth exploring. It's just... they don't really explore it, they just kind of dump it on us at the end. And because we don't have time to come to terms with this messaging (time, it's all about time), I think a lot of people feel like there's this bait & switch happening. For the last 3 seasons, we've been watching a show that is constantly addressing this childhood trauma and a toxic family dynamic, but then the end of that show is like "and all of these kids are a casualty of their abuser's arrogance and there was literally, not from the moment they were born, anything they ever could have done to grow away from that." It's pretty fucking bleak, to say the least.

Plot Holes For Days - There are more plot holes in this show than a block of Swiss Cheese. There are so many, that I'm still mentally trying to sort out an ending that feels... somewhat in the spirit of what season 4 was intending, and doesn't leave us up to our eyeballs in nonsensical plot points. For example- in The Umbrella's original universe, they already changed things so that they don't exist anymore long before the apocalypse. One of the major plot points of season 3 is that Harlan accidentally killed The Umbrellas' mothers before they were even born (obviously this is a paradox, as Harlan could never do that without meeting Viktor). But Hargreeves was still able to adopt Marigold enhanced children! Marigold kids were still born! We're told in 1x01 that 43 women spontaneously gave birth without having been pregnant, but we're supposed to believe that The Umbrellas, right here and now, have definitely got all of the Marigold in this universe? (And that doesn't even get into the questions surrounding the Marigold's presence in this world, since The Umbrellas did not bring it with them, we see no sign of other super powered versions of them existing in this universe, but if it didn't already exist here in some capacity and no children were born with these powers, then there's nothing inherently wrong with this universe, meaning the apocalypse wouldn't need to happen, and on and on and on. Like if all the Marigold was just in that jar and that counts as being in this world, then they could have just chucked that thing at Jennifer and bam, problem solved.) We know that in the original timeline Hargreeves didn't adopt all the Marigold children, because that's the entire point of Lila's backstory. And what about the other 35 women who spontaneously gave birth and those kids? So how could The Umbrellas possibly know if they are destroying all the Marigold by sacrificing themselves in this world? They can't know that. The existence of The Sparrows (and in another universe The Phoenix Academy) also implies that there could be many universes where The Umbrella kids don't all even exist, but other children were born with their powers, so specifically The Umbrella kids all dying isn't something that would need to be set in stone, since none of the other Marigold kids had to die for The Cleanse to work in this universe. Now, a lot of shows have plot holes or paradoxes or questions left at the end, and a lot of shows I would cut some slack. I'm even willing to ignore a lot of the smaller plot holes in this show, but this is the culmination of the entire series, the explanation for what must happen and why, and the justification for all our main characters being wiped out, and it just doesn't hold up under more than a moment's scrutiny. And that, imo, is a pretty big problem.

Gene & Jean/Villains - So, on a slightly lighter note, another thing that I don't have a problem with in concept is Gene & Jean. They're weird and quirky, as all Umbrella Academy villains seem to be, and I love both actors. It's just that season 4 has a serious problem with its villains in general. That is, there are too many of them and their plans are too convoluted. The ultimate villains being in some way connected back to Hargreeves (and specifically Abigail, who up until this point has had very little to justify her existence in the show) makes sense to me. But the absolutely convoluted mess that is The Keepers cult led by Gene & Jean being at odds with Hargreeves' men who are hiding Jennifer, being at odds with Abigail masquerading as Sy Grossman and then as Gene (I still don't understand why she needed to kill Gene or Jean, like Gene & Jean were already trying to bring about The Cleanse, why is she infiltrating them??), instead of using her resources/position as Hargreeves' wife, is ridiculously messy. The person I watched this season with actually asked me after 4x04 if I had any idea what was happening because they were completely lost. Generally, I am pretty patient about how a show shares information. I always assume that I am picking up what they're putting down, and if I don't understand something, I will when I'm supposed to. That... didn't always feel like the case to me this season. I don't think it was so much that it was hard to follow, but that it just didn't make a lot of sense. The "why" for so many character actions, but particularly the villains, just never fully materializes. Abigail and Hargreeves' sides are fighting in this season, with him attempting to prevent the apocalypse and her trying to bring it about... But what is the justification for the completely convoluted nonsensical path it takes to get there? She seems to have plenty of power over Hargreeves when the kids visit. Why does she need to infiltrate The Keepers? Why do The Keepers need to exist at all? It's just a coincidence that they have the same goals as Abigail? If she actually started them, then I assume she would have installed herself into the organization and not needed Gene to infiltrate it. I don't understand her choices. There were many, many simpler ways to get where they ended up.

So... it's not as if The Umbrella Academy is the first show to do this ending. In fact, one of my favorite shows of all time does this ending (not mentioning it by name because that would be a massive spoiler, obviously). I think this ending is completely possible to pull off. But I also am neither convinced from an in-universe logical point, nor from a storyteller's point, that it earned this ending. Did I want it to be a happily ever after? No. I don't think that would fit tonally with the show. But I wanted it to feel necessary, truly inevitable, and both physically and thematically, I don't buy that it was.

My advice to anyone who was starting this show for the first time would have to be, "don't think too hard about it," because ultimately, if you do it will crumble. Just enjoy the vibes and the bickering and the comedy and strangeness. There's no point in asking too many questions. And for some people, that's totally okay. That's enough. I'm just (shockingly) not one of those people.

So, if you're still with me, I'd love to hear what you guys think. Did you feel emotionally fulfilled? Were there particular plot points you loved or hated? What was your favorite musical choice of season 4? Should I release my redesigned season 4 outline? What ending would you have chosen? I'm open to all opinions! I don't agree with all opinions, but I will very much consider them.

[fuckingstupidbracket]

like a regular bin, not even recycled or anything

[maburito]

!!!!!!

This is!!! I don't know if i can say poetic but I'm!!!!! got so much thought about this scene alone!!!!

[a-romantics-guide-to-life]

WORKS IN PROGRESS

just wanted to share a sneak peek at whats to come! (because I have like actually had these in my drafts formatted for such a long time and I wanted to share what I’ve been working on 😉)

[strangersatellites]

pride, envy, sloth, gluttony, greed, lust, ao3

Seven Deadly Sins Series (NSFW 18+)

wrath (noun): uncontrolled feelings of anger, rage, and even hatred. wrath often reveals itself in the wish to seek vengeance. in its purest form, wrath presents with injury, violence, and hate

cw: rough sex, unhealthy relationships, blood, unsafe sex, choking, slapping, dacryphilia, angst (????) on accident, probably more tbh they genuinely fucking hate each other in this universe

This thing they’d had going on for three months now really had started off fun.

It started out soft and sweet. Stolen kisses in the back of The Hideout, quick, messy blowjobs in the backseat of Steve’s car, booty calls late at night when one or the other couldn’t sleep.

He can’t really identify what went wrong or when. All Steve knows is that the butterflies that he used to get when Eddie came around have turned and twisted into something sharp and heavy. Now when they’re within earshot of each other it's all biting insults and low-blows.

Somewhere along the line, the happiness that Eddie planted in his heart morphed into bitter resentment. But Steve’s nothing if not self-sacrificial, and the sex was too good to give up. Who is he to deny himself of the only good thing Eddie has left to offer him? So now he finds himself shoved into bar bathrooms and left high and dry, bruises mottled up and down his chest and dark bags under his eyes from a fitful sleep. Somehow he’s convinced himself it's better than nothing.

On nights where he can’t shake the memory of Eddie’s lips on his and his heart fluttering pretty and soft, he goes out. 

He goes out to a seedy club and he finds someone that he won’t remember the name of in the morning and he tries anything to clear his mind. Nothing’s ever as good.

Tonight he’s found himself a few beers deep and tracing water stains on the bar top at some place he’s never been just outside of town. He’d spent the last ten minutes or so talking to a guy that looked like he’d show him a good enough time. Dark, curly hair cut so that it flopped down into his face, pretty blue eyes that went a shade darker when they looked Steve over, and a shirt cut low enough that Steve could see ink swirl across his collarbones in vines and leaves. 

Steve thinks his name is Adam, but he wasn’t really listening and still really isn’t. He’s found that a few soft laughs and hums while guys talk is usually enough to feign interest long enough to coax them to a bathroom. 

This guy, Adam maybe, is about two seconds away from dragging him there himself, he can tell. It’s written all over his body language. Steve smiles his prettiest smile and flutters his eyelashes.

But as soon as he opens his mouth to purr something like “Do you want to get out of here?” There are strong arms snaking around his waist and teeth scraping at his throat and Steve’s blood runs hot in an instant. He’s well-accustomed to it no longer being a good sensation.

Steve shoves his elbow back with as much force as he can muster and it all goes red before he even hears his chuckle.

“Strike out again, Harrington? I made it just in time then, huh sweetheart,” Eddie coos in a tone dripping with condescension.

He’s on his feet and shoving at Eddie’s chest with enough force he knows it’ll bruise, sees it knock the wind out of him a bit. Gets right up in his face and would do anything to rip that self-satisfied smirk right off of it.

“You miserable fucking prick,” he spits, uncaring of the way Eddie flinches back the tiniest bit. “I was not striking out, and I never am! And yet here you come acting like you’re saving some damsel in distress when it’s you crawling back to me. Every. Single. Time,” he punctuates with jabs to his chest. 

Eddie’s smile doesn’t leave as he huffs a laugh. His tongue swipes across sharp, sharp teeth and he leers at Steve with narrowed eyes. Predatory in a way Steve liked once upon a time but now makes him want to punch out his teeth. He’s got his hands in his pockets and he looks entirely too comfortable with the fact that he just ruined Steve’s night. Again.

“God, sweetheart. You’re so wound up,” he whispers, face pinching up in faux concern. He brings his hands up to smooth down Steve’s biceps and digs his fingers in tight enough that he doesn’t budge with Steve’s attempts at shaking him off. “Tell me. When was the last time someone fucked you good enough that you remembered his name the next morning, now be honest.” He leans in close and that smirk is back and Steve hates it. “You can say it was me, honey. It’ll be our little secret.” 

And Steve’s seeing red again because he’s right. 

It was him. It’s always him and probably always will be. 

He gets back up in his space once more and makes sure he’s looking at his eyes when he whispers a sharp “Fuck. You.”

And it's only for a split second but he swears he sees hurt flash through brown eyes. Gone in an instant and replaced with a real, raw indifference that Steve thinks might be worse. 

He feels a hand at the back of his neck and Eddie’s lips brush his ear. 

“Yours or mine?”

And it was always going to go like this. Steve’s not under any illusions. Knew this time wouldn’t be different. But it still stings the way that he knows in an alternate universe that question might’ve been accompanied with giggles and a kiss. 

But then he remembers the way that Eddie looked so proud when Steve first said he hated him and the rage is back ten-fold.

He turns on his heel and knows he’s being followed.

“Yours. Don’t want you in my fucking house.”

*****

Steve’s got Eddie’s wrists pinned to the wall above his head and his teeth raking down his neck. Wants to leave a mark. A memory. 

He hears Eddie gasp as Steve’s hips shove hard against his own and he shoves harder in retaliation.

“Remember when you used to kiss me?” Steve asks, Eddie’s breath against his face enough to pull some bricks from the walls he’s spent months building.

He feels more than hears Eddie’s hum. Feels his knee come up to shove him backwards until he’s the one pressed against the wall, face turned sideways and arms pinned behind his back.

“Yeah sweetheart.” He leans in to bite at Steve’s ear and make him hiss.

Steve’s grinning, ugly and mean when he grits out “Worst decision of my fucking life.”

But now Eddie’s the one smirking, he can hear it when he speaks. “Mine too. Liked my life a lot better when I didn’t know what you taste like.”

Steve aims for the shin when he bucks a foot backwards, nails it if Eddie’s grunt is anything to go by. He spins around and shoves at Eddie hard enough to send them both to the floor, grateful for a second the fact that his muscle mass makes it easy to manhandle his way into what he wants. 

He laughs, loud and fake. “Now see, that I just don’t believe, Eddie.” He’s got his eyebrows raised high and pout on his lips and he knows what’s coming and he relaxes into it.

And yeah maybe Steve’s strong, but Eddie knows him. Knows when his guard is down. He gets his knees up around Steve’s hips and flips them over, Steve’s back against the ground and there’s the fury Steve’s been after. Been trying to bring it out all night.

Eddie’s got a ringed hand pressed tight against Steve’s throat when he finally lets himself feel. Feel good the way only Eddie can make him. Lets the fight drain out of him as his vision goes spotty. Eddie’s spitting words in his face, “Do you ever shut the fuck up?” and saliva into his mouth and it’s so bad-good.

His next breath is heaving as he comes back down and Eddie’s already standing and walking away. 

“Get up. I don’t have all night.”

And now that he’s got Eddie mad, got him fired up, he knows he can let himself go. Lets himself fall even though he knows Eddie’s not going to catch him. Thinks it's worth it until it's not. Until tomorrow when he remembers the way he and Eddie won’t look at each other when their friends are around. They way they don’t talk.

Because this is how it's always going to go. He’s going to let Eddie rile him up, make his sharp, heavy butterflies flutter out in words he thinks he doesn’t really mean. He’s going to push and push and push until Eddie breaks. And even though he started it, Eddie always will. Break, that is. He’ll break out of his self-assured, indifferent asshole persona and he’ll turn into something real and mean. Someone that hates Steve back. 

Steve thinks it shouldn’t feel as good as it does.

There’s nothing gentle about the way Eddie stretches him open. The way he smacks the inside of Steve’s thigh hard enough it leaves a welt the shape of his hand. 

He’s got two fingers inside him and Steve feels so good and he can’t help but talk. Head thrown back, words fall from his lips between desperate moans. 

“Hate you so fucking much.”

A smack to his ass and a dejected huff. 

“Yeah. I know you do sweetheart."

Steve groans in annoyance but his back arches all the same.

“Hate it when you call me that.”

And he’s not looking but he knows Eddie is rolling his eyes. 

“I know you do, baby.”

And there’s tears pricking at the back of his eyes because sure he really does hate this man. Really does think he’d have been better off never meeting him. But all he can hear when Eddie calls him “baby” is the way he used to say it through laughter against his skin.

He knows he’s pouting but he thinks he deserves it with the bitter memories he’s fighting away. “Hate that even worse.”

Eddie pulls his fingers out and crawls up his body to squeeze at his cheeks until he fishmouths.

“I know. Now shut up and stop crying. You wanted me mean and you’ve fucking got it baby.”

Steve gasps high in his throat when Eddie grabs him by his hips and flips him onto his belly and something about this flavor of anger Eddie’s wearing sets Steve off again. But this time his anger isn’t a facade. It's raw and real and it's hurt that got brushed aside and became something else entirely.

“Hate what we could’ve been. Hate that I hate you.” He says into a pillow.

He hears Eddie groan and not in a good way. In the way he does when he’s annoyed. He feels his weight lay over his back and his hand on the inside of his thigh yanking upward and open.

“Well I hate that you don’t know when to stop talking." He grits out and the pressure as he presses inside Steve is enough to make him white out.

By the time he builds up a bruising rhythm, punching Steve’s breath out of him on every thrust, he’s talking again.

“Could’ve given you everything you wanted sweetheart,” and his tone is so patronizing, “But it just wasn’t fucking enough was it?”

And Steve’s barely holding on to his consciousness through the pressure deep in his guts and the hand pressing the back of his neck down, down, down. But he’s still got enough wherewithal that that strikes a chord.

Because no, having Eddie behind closed doors wasn’t enough. And Eddie knows that. He knows how that hurt him and chooses to use it against him anyway.

His voice is muffled into the pillow and broken up by whimpers and whines but he speaks anyway.

“Well it wasn’t my– shit, so good. Wasn’t my pride that got in the way.”

Eddie’s hips slow to a deep grind and freeze pressed to the hilt.

The hand at the back of Steve’s neck slides to the front and yanks him up on his knees, pressed against Eddie’s chest.

His chest is heaving where its plastered to Steve’s back and his voice rumbles through them both.

“Maybe not. But it was you that kept your mouth shut and made it my fault.”

Steve goes to argue but gets cut off by the sharp stinging of teeth breaking the skin against his shoulder blade. His breath goes ragged on a shriek and his vision whites out around the edges. Eddie’s shoving him back down, ass-up and face smushed sideways. His hand slips up and pries his mouth wide open and shoves in hard, stopping anything he could possibly say. Steve’s eyes are wide where he’s staring, gone glassy and wet.

“And it looks like now you don’t know how to do that, do you baby?” He asks.

And he’s got his fingers down his throat and his dick shoved deep.

There’s blood dripping from his teeth in that sharp, bitter smile. And he’s so pretty. And Steve hates him.

He chokes around his fingers on a sob as Eddie picks up his pace again.

Hates that it feels so good.

Hates that he comes back for this.

Hates that Eddie’s right.

Because maybe he can’t pinpoint when or where things went south, but he knows it has everything to do with the way he started needing more and not asking for it. Knows Eddie was letting him figure it out on his own. And instead of just going for it, he knows he started blaming.

So maybe he does hate Eddie. Hates him for the way he didn’t push him when he knew he needed it. Hates that he still uses him like this. 

But he really hates himself. Because he could’ve had what he wanted but he didn’t take it.

(Hates that tomorrow he’ll forget this all again, too far in his head and in the feeling of Eddie taking what he wouldn’t give. He’ll forget it all and go back to hating him again.)

A sharp smack to the outside of his thigh brings him barreling back down into reality and it's Eddie’s words that send him hurdling into release.

“Here you fucking go again with the crying. God I hate that you’re so fucking pretty.”

Steve hates that that’s what does it for him. Hates that his crying is what does it for Eddie. Hates the way he’s filled up and will have to go home messy, the way Eddie pulls out of him and throws him his clothes.

He hears the flick of a lighter and Eddie’s heavy inhale from far away.

“I assume you can show yourself out.”

As Steve pulls his shirt over his head and wipes the tear tracks from his face he thinks “Yeah. This is why I hate him.”

And from the other side of the room Eddie thinks that if Steve would say half of the things that run through his mind with Eddie inside him, maybe they wouldn’t hate each other at all.