#i didn't realize there was a parallel of sorts there

[cl-0v3r]

Mel is alive, but at what cost

Mel was nearly killed TWICE, her mother began being a struggle, she'd been thrown aside and trying her best to stop her, her boyfriend is not doing well, neither is anyone else (can't blame them) and the fact that she hadn't cried or spoke much about this situation to anyone a single time?? She IS upset about every single thing, yet she stays strong and enduring every bit of torture. The most she did was tell Jayce that Ambessa put her palm on the table, and let him know that she is going to push for hextech. That's it, nothing remotely related to her feelings.

The fact that she was constantly looking at Caitlyn, being able to understand her grief and knew she was in pain?? Mel knows this feeling. She'd went through it.

And in the end SHE has to pay the price of her mothers incompetence.

The intro is very much foreshadowing, we know the hands represent black rose/LeBlanc.

This is what happens in act one, she gets kidnapped by them. The lyrics do correspond to the characters as well (not just Mel, everyone.)

"Tell you you're the greatest" plays as a petal of the black rose floats down the screen, I think it adds significance to the power this organization holds, possibly the Medardas greatest foe.

"But once you turn, they hate us" both Ambessa and Mel were present in this line, I think its foreshadowing for when Ambessa switches up for whatever reason and goes against both Piltover AND Zaun. And Mel WILL go through change as well, a change that could hurt her relationship with others, and receive interest from others too.

"They hate us" could be read individually too, I feel like its a sort of "realization" ?? Perhaps Ambessa WASN'T the one that switched up, maybe Piltover switched up on them, and maybe Mel JUST got out of wherever she's taken to, and saw the mess Ambessa had done to her city??

I think this represents ACT TWO.

The hands pull away and it sort of looks like Mel is fighting back, a "get away from me" type of scream. you know what this reminds me of??

Don't mind me just pushing my Jinx/powder-Mel parallel agenda

Here is when i think Mel truly learns about LeBlanc/BR, she curiously and slowly goes to grab the rose, she learns about the history between her Mother and them, Kinos death, and most of all, learns about HERSELF. The lyrics speak otherwise.

"Pray away, I swear

I'll never be a saint, no way"

This feels like a parallel to caitlyn of sorts if that makes sense. Caitlyn had done everything to try and stop the council from attacking the Undercity, she kept her mouth shut when Jayce asked about Jinxs grenade, she was willing to protect Vi and the undercity, but how many times has she been tossed around? She'd been burned, exploded, kidnapped (god knows what happened during that time) and hit in the face by the same person, her MOTHER died because of the same person. She has every right to go insane. And she is hunting ONE person, which is Jinx. Although she is harming the people around her along the way.

What if Mel goes through a similar situation? Her mother pushed for war in her city, she dragged the enemy along with her even if she didn't mean to, she manipulated everyone around her INCLUDING Jayce, she LITERALLY got Mel hurt from the chembarons attack and killed so many people during a MEMORIAL to get her hextech weapons, Elora is most likely DEAD, not to mention whatever happened in the past between them. And the thing is, this will NEVER end throughout the entire season.

And what if she learns what she is? That she's 'blessed' by Kindred? The fact that the wolf is quite literally in her blood?

I feel like the "ill never be a saint, no way" also sort of indicates Mel will realize she'll never be able to push for peace and mercy like she always hoped for no matter what, and she comes to accept that as much as it hurts. But not like how ambessa accepted the wolf, but she sort of realizes she needs to push a little violence, towards nobody but the one and only, Ambessa "fine, if you want me to be like you, I guess I'll be like you towards YOU." Type of acceptance.

I think its also related to Mels new outfit too, she's dressed like her mother, in red and all of that. I will still stand by the idea that she has plans to decieve, but she will do something she doesn't want to do.

Mel was left with no choice, that lyric sounds like realization, acceptance, but also like a plea at the same time, an "I'll never be who I wanted to be" because in the end, she's still a Medarda, she's still her mothers daughter, she still has violence in her veins, she will never not suffer from the weight her name holds, and she will never escape it either, its like a shadow.

The Characters won't be themselves at their core this season. And those vital parts of their characters that represent them are no longer there in the intro, they all have given up what makes them, THEM design wise. (e.g.) Vi without her tattoo, Viktor hiding his identity with the mask. And the thing is, they did that to themselves because they do self-harm, they're changing themselves because THEY want to, they're forcing themselves to do that, they think they're undeserving and they're erasing their past selves.

But Mel? Mel doesn't have her gold accessories, Jewelry, or her Armor, she'd been stripped bare and hidden away because of the brutality of her name. She pays the price her mother brought to HER city. She's forced to change herself against her will, because nobody is giving her a chance to push for her ideals.

This entire theory never ends, and with all of this? I kinda do see Mel actually committing Matricide, it lifts the "Ambessa will die" theory further.

[herrscherofmagic]

First of all: this is absolutely amazing and I can't thank you enough for this analysis of Acheron!!

Second: I just wanted to add a mention of Honkai World Diva, which is Mei's signature song from the GGZ days when Mihoyo was literally a smol indie company; a cover of it was used in Lament of the Fallen in HI3rd!

"Crimson moon shines upon a town that is smeared in blood…" Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end -Honkai World Diva lyrics

I'm really far behind on the story and haven't even started Penacony nor seen most of the promo material, so all the little glimpses I've caught of Acheron & Black Swan content have confused me, and in general I've been losing interest in HSR's main story and have been trying to get back

but with all the context you've given in this analysis, plus the lyrics of Honkai World Diva, it feels like Acheron is a totally different character for me now

like, Mei never truly "lost" Kiana in most versions of their story. Yes in GGZ when God Kiana ended the world at the end of the Retrospective arc, but otherwise they managed to hold on and fight together for most of the time. and in HI3rd ditto, Mei never truly "lost" Kiana. She was close, yes, but Kiana endured and they reunited eventually.

So Honkai World Diva always fit Mei but in a sorta loose way, it always felt almost like a parody of Mei's actual story, y'know?

BUT NOW WITH ACHERON??? HELLO?????

Like at first in Genshin with Raiden Ei I thought her story sorta fit HWD as well because of the loss of Makoto, and the whole "red moon" thing from the Khaenri'ah cataclysm. But with Acheron it's so painfully clear in that teaser image and with all the other context you've given.

If Acheron lost her "Kiana" then all the lyrics would fit her story nearly perfectly!

O your smile is tainted and your face is cold There's no more comfort in your lips and cheeks The whirling noise is pulling me within The tainted carcass of this world

[Pre-Chorus] All the incandescent stars of heaven will die at the end of days Your gentle soul given to damnation

The death of the person closest to Acheron and the disaster in which it happened. (also... "your gentle soul given to damnation" is such a powerful line and I pray to Da Wei that we get something like that in HSR's story!!)

[Chorus] "Crimson moon shines upon a town that is smeared in blood..." Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end

[Verse 2] Lost and faded truth of bygone memories Hiddеn deep in my corrupt body

Imagery of the disaster and Acheron's despair, along with the memories being "buried away" with Acheron seemingly unable to remember neither the good nor bad of her past life; also the "corrupt body" of her white-and-red form

[Pre-Chorus] I can hear the voices of the people I miss in this final song I would tremble just to hold them once more

[Chorus] "Florid moon shines upon a world that is doomed to die..." Wailed the diva given into lament All our pale, fleeting dreams are where the truths are hidden Until they fade away

"Crimson moon shines upon the town that is smeared in blood..." Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end

The mention of the truth being "hidden" in fleeting dreams, paired with the teaser when Black Swan was diving into Acheron's memories to find the "truth" about whatever happened w/ the Annihilation Gang...

obligatory post before acheron's release

obviously, it's established that acheron is a variant of raiden mei. her real name is not actually acheron (confirmed through the livestream, but...come on, we all already knew that). specifically, there's loads of similarities in her design to the herrscher of thunder above all else

similar hair structure, hair part, n hairpiece (n obviously the color, too),

sword structure, patterns, n nearly identical handles,

one "red" arm,

the bust/halter,

and of course, the color scheme as shown in acheron's "emanator" form, n the horns shown in the livestream

with all that in mind, i imagine acheron is a variant of mei who failed to save the person closest to her (her kiana, to simplify it), n/or watched them die, or even killed them herself. it's shown during her dance with black swan that there was obviously someone important to her in her past, conflict arose in a setting much like the one featured in the livestream, n there's even imagery of her walking alone with only the moon in the sky to keep her company

kiana has been associated with the moon n moon imagery since the flyme2themoon days; her origin was quite literally a game about blasting off to the moon

this teaser resembles thunders over nagazora to me, as well as mei watching kiana's end in honkai gakuen

there's also the fact that the type of emanator acheron is, an emanator of nihility, is classified as a self-annihilator; those who have felt the pull of nihility n been unable to escape drowning in it. self-annihilator's take the meaning of nihility to heart, so much so that it erodes their bodies n memories

acheron has been confirmed as the self-annihilator type in her character introduction posted recently. what really strikes me about this line is the phrasing of "existence is nothing"

sounds familiar, doesn't it?

mei is characterized by the tragedies in her life, n how they impact her. growing up isolated, a kidnapping at a young age, bullying at school, suicidal tendencies, n the constant reminder that the girl she loves more than anything in the world will always put the overall well being of humanity over herself

to me, acheron is a mei shaped by loss. the mei we remember from hi3 had the chance to grow n change; to learn from her mistakes, n to fight for a better world, bc she had the support of her friends n her most important person. acheron doesn't seem to have that level of support from anyone, at least not anyone still in her life currently

which brings me to my next point. she HAD a "kiana," but ultimately lost her. n this is the result

acheron is incredibly powerful, but her power seems incredibly volatile. she carries this innate sadness with her wherever she goes, n the very path she walks n the very aeon she became an avatar of strips life of all meaning, all the beauty from the world

it's a far cry from the mei we know, bc clearly, there was a very pivotal change in her development that i can only attribute to the loss of her world's "kiana"

[that-one-malereader-enthusiast]

𝐀𝐫𝐜𝐚𝐧𝐞 · 𝐋𝐞𝐚𝐠𝐮𝐞 𝐨𝐟 𝐋𝐞𝐠𝐞𝐧𝐝𝐬

ׂ╰┈➤ ◖ 𝐓𝐡𝐞 𝐁𝐞𝐬𝐭 𝐓𝐡𝐢𝐧𝐠 𝐈 𝐍𝐞𝐯𝐞𝐫 𝐊𝐧𝐞𝐰 𝐈 𝐍𝐞𝐞𝐝𝐞𝐝 ◗

𝐒𝐢𝐥𝐜𝐨 𝐱 𝐌𝐚𝐥𝐞 𝐑𝐞𝐚𝐝𝐞𝐫

꒷꒦︶︶︶︶︶︶︶︶꒦꒷‧₊˚⊹

cw : MDNI - S2 Arcane Act III [spoilers], parallel universe, alternate male reader, alternate Silco, slightly suggestive, top male reader, old man yaoi, mentions of nudity, chem-baron male reader, crime boss male reader, mentions of alcohol abuse, mentions of suicidal tendencies & thoughts, mentions of injuries, bitter sweet ending, open ended, fluff, angst, proofread. wc : 1.6k

__________________

now playing : What Have They Done To Us (from the series Arcane League of Legends) - Mako, Grey

꒷꒦︶︶︶︶︶︶︶︶꒦꒷‧₊˚⊹

prologue · epilogue ←

overview · With Silco dead and gone, it seemed as if all your strength, your will to fight, will to live — it all disappeared with him. It was as if your entire world had fallen apart all at once, that you'd been forsaken or damned by some higher power to simply live a life of constant cruelty. Just as it always has been, just as it always will be — toiling in misery as the place you once called home seemed to be burning before your eyes.

Or maybe, just maybe...it was all nothing but a bad dream.

꒷꒦︶︶︶︶︶︶︶︶꒦꒷‧₊˚⊹

You woke with an abrupt gasp, a cold sweat clinging onto your body after waking from a less than pleasant dream. Your breath stuttered as you fisted against the sheets to ground yourself to reality. As your vision slowly adjusted to the darkness, it was only then that you realized you were in bed within your allotted room. As the sheets stirred beside you, a slender hand moved to run itself against your bare, scar riddled body — starting at your stomach and slowly making its way up your chest — before finally settling against where your heart resided.

“You alright?” Silcos' voice cut through the quiet air of the room, now able to hear your sudden laboured breathing. He was just barely awake at the time, but the moment he not only heard, but felt you wake in such a panic, he didn't hesitate to come to your aid. The way your heart seemed to race under his touch only worried him that much more about your current state.

“Yeah, no, I just…I just had a weird dream, that's all. Nothing to worry about, just wasn't too fond of it since, well, it seemed so real. Call me crazy, but everyone we knew was there.” You wiped a hand against your own face, still half awake yourself. One hand went up to overlap the others while another went through your hair, combing it back with your fingers balling up towards the end. After a moment or so and being able to catch your breath, you laid yourself back down, resting against the pillow propped under your head.

Silco huffed out, doing his best to sit up, maneuvering a pillow behind his back as he moved positions. “Is that so?” He knew that you were prone to having vivid dreams every now and then, and when it was something intriguing or something that kept you up, he didn't mind letting you ramble on when recalling said events.

“I was some sort of…crime boss and so were you. But you were much scarier than me,” you started, only to snicker at the thought, practically hearing the other playfully roll his eyes at your active imagination. “Though, I will say it got really depressing rather…rather fast. Lots of people got hurt, people I cared about dearly. You, you were there, and suddenly…you weren't.”

“Darling,” he called out for you, though in the moment of recalling what felt like years worth of memories shoved into one dream, you couldn't help but to continue your rant before the thoughts completely disappeared from the forefront of your mind.

“You and Vander, god,” you sighed out, brows furrowing and eyes glancing about the ceiling, as if you were trying to find the image. “You two were up in arms against each other, and I…and I just sat and watched as everything burned. Like I was helpless to it all. The kids, they — Silco, bad things happened, left and right and it was as if the world was against you, us…me? And Powder, damn it, she was so…lost, so broken, and there…there was nothing I could do to—”

Your head snapped down to your arm as you felt a hand slip into your own, squeezing it reassuringly. Your head then tilted up, looking back to your companion with a slight pout on your lips.

“I'm not going anywhere, you know that. I'll always be beside you, understand?” Silco croaked out.

You gently smiled in turn, twisting to where you were laying on your side before reaching out to cup and caress against their face. “Just as I’ll be here next to you, unmoving. My love, unwavering,” you say onto him. Your thumb gently rubbed against the scarred skin of his face, tender touches under the discolored eye you'd come to adore, all before leaning in and tenderly pressing your lips against his own.

Silco reciprocated immediately, tilting his head as his own free hand came up to the nape of your neck, slowly threading his fingers through your hair before giving it a gentle tug, humming as he felt you groan into his mouth.

Regretfully pulling away, you looked at him through half lidded eyes. Your heart throbbed within the confines of your ribcage as he looked at you with the same look he always gave you, the look that makes you fall harder for him everyday.

The look of absolute love, devotion, and admiration — the type of love you couldn't find anywhere else, the type you thought you never deserved.

But Silco knew you deserved more. You deserved the world and he'd give it to you the moment you asked, no hesitation.

Before long, the sheets were moved and your bodies were entangled. Your lips were quick to spoil and praise his skin, pressing hot, heavy kisses against his neck, slipping down to his collar, nipping away while he called your name in such a sultry tone. You practically melted. Your hands drifted to his sides, playing against his bare skin while his hands dipped and diverged, one against your back — brushing against the many scars you'd earned throughout the years — the other threading through your graying hair.

You were once again breathless, but for all the right reasons. A warmth surged through your body, swirling around your core as Silco egged you on.

Leaning up, you found yourself stealing a kiss, your tongue swiping along his bottom lip before slowly pulling away, his teeth catching your bottom and tugging it shortly after. As you two parted, you couldn't help but to stare. Oh how you adored this man, would break the world for him if he asked or demanded it. What wouldn't you do for the man you loved. “I love you…”

Peering into his heterochromic eyes, he looked back into your own, just as he looked at you across the bar all those years ago. “I love you too darling, more than you'll ever know.” He pressed his lips against your once again.

“And nothing will ever change that.”

₊˚⊹ ₊

Your eyes shot open and your body lunged forward, gasping for air as if you'd been choking on fumes. You hacked and coughed before slamming yourself back against the brick wall you laid again, groaning as pain surged throughout the entirety of your body and a harsh banging against your temples. You could barely think in the moment, but you were awake enough to notice that you were somewhere shoved in an alley, slumped against one of its many grime covered walls.

Before you could even attempt to move again, there was a searing pain that seemed to occupy the entire left side of your body. Slowly turning your head, you gazed upon the rather harsh and horrific burns that were in your skin. A pained yell let loose from your lungs as you tried to sit up straight, the pain making your vision flash white.

The Lanes had gone to hell, devastation around every corner, and what was left for you?

Despair, destruction, it all came down and brought back nothing but misery. Something you'd been all too accustomed to.

“What a fucked up dream,” you sneered, wincing with every breath you took.” Maybe…Maybe just one good thought of him before it's lights out.” In the corner of your eye there seemed to be an eerie green glow that lit up the darkness of the Lanes. It caused you to weakly turn your head towards the product of such a glaring light. Only then, could you remember where you truly were, what you'd done.

You could do nothing but sit and watch as The Last Drop was engulfed in flames, the fire lapping at every entrance, window, and wall. You could still feel the flames that nipped at your flesh, eating away as you slumped yourself at the bar in those final moments. Everything started to make sense to you, watching Jinx as she lit the place a blaze, watching her shadow, foreign without her long hair.

The memory was too painful for her, and you didn't blame her.

You could never blame her.

You could never hate her. After all, she was your forsakened daughter, whether you acknowledged it or not. The last thing you could have imagined was her harming Silco, but in the end, you knew she couldn't have done such a thing on purpose, not when she missed him so dearly. Just as you did.

You wanted your suffering to end there, as sad as it seemed, you saw it as a means to an end. One last drink before a final goodbye.

The three people you held dearly, all three of them, gone. Only you remained, to suffer in their silence.

You couldn't remember if you dragged yourself out, or if someone else did, but as you closed your eyes, you could hear his voice encircling your mind.

“You aren't just a mutt fighting for scraps anymore. You're a hound willing to fight for what's yours. You aren't pathetic enough to put yourself down, nor has anyone had the strength or audacity to kill you. So do what you do best…and fight.”

It was as if he was right in front of you.

“Keep fighting, or I swear I'll take everything you care about and watch it burn. Keep fighting. For me…”

As the blaze that once was the Last Drop continued the burn, you couldn't help but to think rather fondly of the dream you had. “Maybe in another life, yeah?” You muttered to yourself. Staring off into the flames, you could feel the darkness seeping in, ready to take you down into the depths of unconsciousness once again.

“Maybe…what could have been.”

꒷꒦︶︶︶︶︶︶︶︶꒦꒷‧₊˚⊹

a/n : thank you for suffering with me, arcane gripped my heart and I'M STILL HURTING— anywho, don't forget to like, comment, or repost! Arcane requests are open! <3

[atrophiedemotion]

escapism vs reality in alien stage

in this post (elaborated greatly by geo's tags as well) i mentioned a big sua/till parallel i noticed (but didn't go into much detail because i didn't want to derail the post lol), and i wanted to go into more detail on that and the overall reality vs fantasy theme alnst has going.

sua & till both use their love for mizi as a form of escapism. sua's love for mizi and the weight of her knowledge of their universe causes her to create a safe (fake) bubble for her and mizi to exist in & makes it as perfect as it can be before they're out of time. till uses his love & admiration for mizi as a beacon of hope, as motivation to go on despite how horribly he's treated in day to day life. mizi is the brightness in both of their dull lives.

this view of mizi as a hopeful, optimistic sort-of deity sheds light onto an entire theme of alien stage, escapism vs reality. it also shows that mizi & ivan, in this specific instance, are antitheses of each other.

mizi, as a character, symbolizes hope and escapism. she is the only character out of the main four that didn't understand the exact conditions of their world due to how she was raised. she does not fully grasp how horrifying the alnst universe is until she watches sua die, which is the inciting incident for the entire series. escapism isn't possible anymore, but hope is still there when she gets rescued by hyuna and joins the rebellion.

ivan, on the other hand, literally symbolizes truth and the reality of their world. since he was born he understood the cruelty the segyein are capable of and knows exactly where he stands in the world. he is seen to be fatalistic and even nihilistic. his death, which he sees as an inevitability, is the second inciting incident (the one where everything goes to shit chaos afterward). it is a brutal reminder of the truth of alien stage to both the characters and the audience.

sua & till actively seek out mizi as solace in their pain, and they both actively avoid ivan (in their own ways) and the connections he has to reality.

sua avoids ivan because, well, he's mean to her, but mostly because he's not even trying to be mean, he's just objectively right and she doesn't want to hear it. he is a reminder not only of the cruel world they live in but her own 'twistedness'. he reminds her that she is not solely the fantasy she's created with mizi, but someone with unavoidable knowledge of the inevitable (as well as someone who is willfully keeping this information from an unknowing mizi).

till avoids confronting his feelings for ivan and confronting ivan in general because ivan confuses him. his feelings for ivan aren't cut and dry in the way his feelings for mizi are, because ivan is and always will be tied to pain and suffering for till (their first meeting in the auction shop, their miscommunication/strange relationship, the fact that ivan is the only one who sees him at his most vulnerable, etc). ivan's death forces him to confront these feelings (for ivan & about their world in general) but even then he's repressing them until he physically can't anymore.

mizi is escapism & hope, literally realized because she escapes. ivan is reality & a representation of the fate of alnst contestants, literally realized through his death.

it doesn't end there, though. sua & till are escapists running from reality (with diverging paths that are both narratively important in their own ways), while mizi represents escapism & ivan represents reality. along similar lines, but going a step further, hyuna & luka showcase these exact themes.

hyuna is the legitimate showcase of hope, of freedom. she is a free human (as free as you can get in the alnst universe) and the leader of a human rebellion focused on uprising as a race against the segyein.

luka is the perfect example of compliance within reality. he is now a two time alien stage champion and the definition of a pet, no matter how he actually feels.

hyuna & luka are similar to, but a step beyond, mizi & ivan. mizi symbolizes escapism, but she is faced with reality and must grapple it, while hyuna is freedom personified (albeit with demons of her own). ivan symbolizes reality, but he still yearns for something he thinks he'll never have, while luka completely shuts off those emotions because he knows they will only jeopardize his chances of survival.

the characters of alien stage perfectly embody one of the core themes of alien stage, the discrepancy between fantasy and truth, and the way those can coincide in a world.

[absolutelynotsanebaby]

I was talking to my mutual about Cole when I had a surge of Thoughts so per usual you all have to hear them now. I was considering a couple things, namely his development and place as the "strong guy" on the team and his masculinity (and how it presents in the show vs in fanon).

Cole's pretty often typecast as the gruff strong guy in a lot of fan-media (from fanfics to fanart etc) which isn't wrong because he was like that, especially within the early seasons. The way he spoke, the way he acted, his place as a sort of leading force. In season three you even see him in that stupid lumberjack fit (said affectionately), it's all very traditionally masculine. Which fits his whole Strong and Big guy of the team role (the five man band archetypes etc etc). However, it's interesting to say because at his core, he's very emotional and very driven by a strong sense of internal compassion (with a canonical affinity to children). Which obviously none of that is opposed to masculinity but these traits begin to show more as the gruffness pulls back. The first real example of that I think is in ToE with his fight with Jay. I don't read him as being invested in their fighting the same way Jay was. Jay was fueled by insecurity and a very strong sense of jealousy and possessiveness. Cole? I think he was just reacting to Jay's aggression, which didn't put Nya in a better position but it is a difference. 

So when their match rolls around, he's the first one to realize what they're doing is stupid and give in. He reaches out emotionally to Jay. However, Jays still is a friend so that is easy to write off as a symptom of friendship. And then following ToE we have possession and DOTD which I think are where he really begins to develop, and have the strongest examples of what I'm getting at. I'm going out on a limb and saying that I really see his prior gruffness as a sort of armor, to be good enough for the team (insert that one Wu note of him staying up late before missions) and also there his whole rebellious streak against his father trying to force him to be someone he's not. (Note: I wouldn't be surprised if how Lou raised him really had a impact on all this) Then, we get to Possession and both his self worth and self image are shook badly by literally dying. He outright says he's not a ninja anymore, which I think he based a lot of who he was on (<- which is why struggling with it hit so hard).

Finally DOTD comes up and I think we see the strongest example of where his compassion really become a core trait. It's his fight with Yang. He had no reason to reach out to him, to be honest he had the right not to, but he did and it worked! He didn't get out of DOTD in the end with brute force, he got out of it with emotional support (his team showing up), a stubborn adherence to his moral code, and reaching out to Yang with empathy. From that point on, I think he's softer and more prone to being emotional, it's like there was a very real shift. To circle back to Jay, because I think he makes for a good comparison, he does not develop like that post ToE. Actually, the issues carying from s3 (though, they do exist prior just not as starkly) all the way to Skybound where it gets violently (literally) addressed. Jay fans can probably say it better than me but the season is about his insecurity and treatment of Nya and there's a reason both Nadakhan and Cliff are like that (read: they're parallels). It's just interesting because both Cole and Jay have issues with self worth and image but they present and develop very differently. 

There's also the fanon aspect with those two that's really funny. I think everyone's aware of the infamous fanon-bruise, the 2010s-yaoification. Uwu Jay, Big Strong Man Cole, and how weirdly racist it is. It's just funny to note because the issues projected onto Cole in fanon are ones Jay has, like, in the show. Cole's the more emotional and compassionate one of the two, but because of the strong guy role, it gets flipped around in fanon. Going by the 'traditional' (read: toxic) masculine standards, in terms of personality and character, I think Jay more closely aligns. It reminds me of this post I saw once, it was of Hunted where Jay was making the plane (?) and Cole was with baby Wu. It called Jay the 'mom' and Cole the 'dad' which I find kind of funny because if you look at it through that hetero-normative lense, it really should be the other way around. Cole's the one caring for the baby pretty consistently, Jay's the one making a machine and Working. Did Jay just get called the 'mom' there because people think of him as smaller and weaker and therefore more feminine? Did Cole get called the dad just because he's strong and considered bigger? It's interesting. Fanon does Cole really dirty sometimes.

To get back on topic of Cole's narrative development, then we get to MOTM (like a bajillion years later which no I'm not complaining except I am). Cole's characterization in MOTM is so fucking good. MOTM does a fantastic job at tying together several of his strings. It ties in Lilly, his self esteem, his staunch morality, affinity towards leadership, and compassion into one, pretty bow. MOTM puts Cole back into a leading role, and it gives him several groups to reach out to (Vania, the munce and geckle, the uppily). It draws back the insecurity present in him, letting it show again to be addressed. It even ties in his relationship to Wu in a really lovely way to me. MOTM is the season where Cole finds who he is, his identity and his place as his mothers son.

Speaking of that, I have a very strong love for male characters who exemplify who their mothers were and what they taught them. The scenes with Lilly really put his entire character into a different perspective. At the start he was this tough kid fresh off grief and pressurized so strongly by his dad and himself and he goes through loops and hurdles of strength and identity and by the end he finds himself exactly where he needs to be. Where he's the strongest and it's in his mothers footsteps, as someone both emotional and strong. It's a really lovely character arc to take him on, and though I haven't watched DR, I've heard they continue that on. 

Anyways, consider it positive masculinity, consider it anything else. I just had a lot of thoughts to share and hope I don't sound too 'reading-too-deep' about it. Bye bye Kar ramble over.

[haljathefangirlcat]

Also a shoutout to whoever wrote this very salty episode summary on the RH wiki.

OP, I will literally never be able to thank you enough for exposing me to this.

Robin Hood Rewatch - 3x09: A Dangerous Deal

Sigh.

I mean, where do I even start? I remember this episode being bad, but I’m astounded at how truly terrible it is. Really the most misogynistic trashfire of an episode this show ever had the misfortune to produce.

Ranting ahead. Quite a bit of it.

Continua a leggere

[tritoch]

Have you got any thoughts to share about Sphene? I saw your post about how misrepresented FFXIV’s female characters are, and I’ve been hoping to see anything more than the typical “Evil AI colonizer etc.” or “Tragic woman who can never change ever” or “Wuk Lamat’s girlfriend”. Maybe our interpretations will differ but I’ll be happy if you can provide anything more complex than those.

Sure! Throwing all this under a read-more for anyone who hasn't finished 7.0 yet. I think I'll probably expand on this more later but wanted to get initial thoughts down. (Note after writing: I meant this to be brief but uhhhh brevity is not my strong suit sorry. This take just sort of ends abruptly because I realize I'm rambling.) Again, spoilers through the end of 7.0 MSQ.

I think Sphene is the sharpest work the game has done yet in casting the antagonist as the noble double of the protagonist (a well it returns to a lot with Emet, and Zenos, and Golbez, and...). But because the protagonist here is Wuk Lamat and not the Warrior of Light, that's also a much more defined and interesting role. To me, Wuk Lamat is, above all, the Righteous Queen, who rules thoughtfully, wisely, and justly, and whose claim to the throne is justified by her moral clarity. Sphene, in turn, is also a wise and good queen, one who undertakes all her actions with her people first in her hearts, a sense of compassion towards all, and a clear eye for the consequences and costs of her intended course of action. And it leads to utter disaster, for her, her people, and the people of Tural. That rocks!

The first half of 7.0 is about justifying the fact that Wuk Lamat's going to be Dawnservant. Wuk Lamat is compassionate, curious, wise, and open-minded. She wins over rebels and malcontents not by asserting her authority or by strength of force, but by taking her obligations to them (as her subjects) seriously. She knows many of her subjects personally and takes a great interest in their lives, and she respects even those who openly oppose her.

And everything Wuk Lamat does, Sphene does to 11. Wuk Lamat respects her subject peoples and is curious about their cultures? Sphene forcibly annexes Yyasulani, but goes out of her way and expends Alexandria's limited resources to enable the remaining Xak Turali to live in their accustomed way if desired (…to the extent allowed by the new permanent lightning storms and the internal conflicts caused by regulator adoption). Wuk Lamat cares about her people not just in the abstract but as individuals? Sphene visits sick kids, knows them by name! Wuk Lamat understands the burden of rulership is too great and cedes half her power to her brother? Sphene recognizes her own weaknesses and makes a deal with the devil to keep Alexandria's culture alive! Wuk Lamat is willing to die for her people? Sphene will forcibly traumatize herself into being a better queen, if that's what rulership demands.

For an expansion that spends the first half being like "wow isn't this perfect candidate for the crown so likable and humble? wouldn't it be nice to be ruled by a good king?," it sure is funny that the final boss is THE QUEEN ETERNAL and she hits you with attacks like LEGITIMATE FORCE and ABSOLUTE AUTHORITY and ROYAL DOMAIN. This, to me, is Sphene's role: she complicates and questions the themes we've developed in the first half. Most importantly to me, she makes us ask: what is devotion to a people or culture even worth?

There's a thing I kept thinking of constantly during Dawntrail, not because I think it directly influenced the game in any way but because the parallels were so stark and startling. It's Jonathan Hickman's New Avengers #18 (2014). Truthfully, I'm not a big comics guy; I only know this sequence because Ta-Nehisi Coates cited it as inspiration for his Black Panther run on Twitter once (I also didn't read TNC's run, I was following him for politics talk). Forgive me, comics people, if I get any details wrong. The parallels are almost comical, though. It goes like this:

A superhuman secret society formed of some of the smartest heroes (and villains) in the land re-forms to oppose an existential threat caused by incursions from other dimensions that threaten to cause literal collisions between Earth and its alternate dimension counterparts. Seeing no other alternatives, they undertake work on a weapon to destroy these other worlds. T'challa—king of a fictional hyperadvanced nation called Wakanda, and also the superhuman Black Panther—meets with his ghostly predecessors, the previous Black Panthers/kings, for he fears the moral stain on his soul and the souls of the people of Wakanda, if they survive explicitly by killing their alternate counterparts, will be too heavy to bear. His ancestors are not impressed.

To them, there is no question at all. A king's duty may be complex in the execution, but it is simple in its conception. Your people come before all others. Always. This is, must be, the fundamental ethic of a good king. To do otherwise would be a betrayal of the social order on which this imagined good monarchy is built. In a situation like this, the only option is to do what you must to protect them. "Will there be a cost? Yes. Might the universe burn? Let it. . . . You will kill them all if it means Wakanda stands. The golden city must never fall."

"I will do what I must" is Sphene's guiding principle. It is so important to her that when she recognizes that her sentimental attachments are making her waver in her duty, she severs them entirely, sacrificing her whole identity to the throne. It is also implicitly Wuk Lamat's position: she has no choice but to fight Sphene because to do otherwise would be to fail to protect her people. In fact, it's briefly even sort of the Warrior of Light's position, as when you tell Sphene before her trial that you understand what you must do, which is shut her down to protect others.

(One quick thought about the Warrior of Light: one cool thing about the antagonist this time being a double in a more exact way than Emet or Zenos is that it means other characters get a chance to relate to her differently than Wuk Lamat. The Warrior of Light, for example, is pressed into her service immediately upon your first meeting as the Queen's Champion, there to defend her if need be against all evil. This role is further affirmed by both robot Otis and Endless Otis, who essentially hand off their role as her knight to you, and reinforced when you flash back to the "might I call upon your aid" moment right before the end. Except, of course, you are loyal not just to her, but to the principles she represents, which her own acts betray, and so your ultimate act of aid is to essentially pass judgment on her and execute her. In a sense, you become the internal safeguard that a political system is supposed to have to protect against this very issue, and which Alexandria explicitly lost when it cast out/forgot Otis. Very Voeburt/ShB tank quests, it owns.)

But really, it's Sphene who embodies this sort of grim logic best. Aside from her transformation into the Queen Eternal, it's also why she suggests you simply become Alexandrians. It's the only way for her to reconcile her values and worldview, which have backed her into a corner where preserving Alexandria has come to mean a maximalist declaration of war on all life outside its borders because the kind of absolutely pain-free life she envisions for her citizens is completely unsustainable.

In this reading, one of Sphene's main beats is to unsettle what has preceded her in MSQ. In nearly all respects, she shares your values. She prizes life, is curious about other cultures, believes in the greatest good for the greatest possible number. But she is also a queen, and therefore irrevocably (in her eyes) tied to her state. Gulool Ja Ja and Wuk Lamat (and Koana) are the mythical wise rulers, thank god--but what if Wuk had inherited a Turali state that wasn't desperately in need of cross-cultural understanding, but one in a state of war? What value would her deep love for the people of Tural have held then? Sphene says, it would have held no value. If the survival of your people means harming the innocent, you harm the innocent. Kingship allows for no alternatives.

But she also concedes, in the very next breath, that she is still kind of wrong. Because what happened here was not inevitable, despite her programming (a brief note: to me Sphene being programmed is exactly the same as Emet being maybe-tempered, it's a fantasy gloss on the idea of social and cultural education. "I was programmed for this" is really no different from "I was trained and educated for this"), because the truth is that this kind of thoughtful, principled devotion to the state and its people is also a form of sentimental attachment, in the end. One that is maintained not because it is natural, and necessary, but because the monarch, too, likes it, and gets something from it.

In so many ways, in so many senses, the monarch is the state. Kings and queens may fancy themselves merely a reflection of their people's needs and desires, but of course even a cursory glance at history will tell you that far more often, states reflect their rulers. Sphene and Wuk Lamat both suggest that their conflict was inevitable, but was it? Or is the truth, as Sphene glancingly acknowledges here, that she turned her own fears and desires into the same policy goals that led to this tragedy? And if so...what does that say of our Good Queen, Wuk Lamat? Perhaps this could be different if they met earlier, says Wuk Lamat. But when? When did Wuk Lamat ever not love her people so dearly that she would not have sacrificed herself for them, or caused mass death for the sake of their survival? When did Sphene not believe the Endless to be people, or the preservation of Alexandria to be the most important thing? Maybe she means "had we met before you met Zoraal Ja," but of course, we the player actually saw their meeting. And we know that Sphene even then was not the hapless naif she'd like to pretend. She always knew exactly what she was doing.

We know the price of this kind of thinking, this Hobbesian view that states are engaged in a struggle of all against all. Living Memory lets you walk through it. To preserve Tural, we exterminate the Endless. We befriend them, learn about their lives, promise to remember them, and then we destroy them and their homes, leaving nothing but a bleak blank landscape and the sound of wind. This is what Sphene would have done to Tural and Eorzea. Indeed, it's what she's already doing to the people of Yyasulani, because no amount of well-intentioned aid can make up for trapping people under the dome for 30 years and systematically eroding their culture through the resonators.

To me, this is what makes Sphene really work, that way she has of forcing Wuk Lamat and the player to commit the same kinds of sins she has. We'd like to think ourselves better than her, but of course, we've already reconciled with and integrated Mamook's brutal eugenicist regime back into Turali society well before we ever met Sphene. At the end of our long "wow isn't having a wise queen cool???" expansion, we are met with "Legitimate Force" and "Absolute Authority" and see them for what they truly are: nothing but tools of violence. No longer does the idea of the Warrior of Light hanging around Tural as Wuk Lamat's advisor have the same attraction, now that we have been reminded of the way the putatively unquestionable logic of kingship can ultimately lock even the wisest and kindest rulers into a path of war and exploitation and destruction.

I think Sphene is FFXIV's most interesting and nuanced depiction yet of a leader. She really, truly, wants nothing more than to save her people and protect them from pain. But even seemingly loving and compassionate goals like these can readily lead us down dark paths. She's a "hard men make hard choices"-type character, a noble but misguided opponent, but as a loving and elegant fairy queen instead of a grizzled knight or extremely sad man. She fucking rocks.

[videogamelover99]

OKAY BUT LISTEN. LISTEN. I WANNA BREAK DOWN SOME OF THE PANELS FROM THIS SCENE CAUSE UH. This is like a powerpoint of the audience realizing the Sheep are not Chuuya's friends.

First off, baby? Baby. Also Chuuya's body language in the art is so, like, embarassed/self-conscious teen, except instead of the problem being hanging out with the wrong people in high school its...Mafia-level stakes. Anyway, Chuuya curling up while hiding from his "friends" immediately gives you a sense he is not the one in control.

Dazai-like expression who? Chuuya is putting on a mask so eerily similar...it gives us some great parallels.

Chuuya unnecessarily apologizing to Shirase? Yeah. Straight from the book.

Insane over Shirase's solid B+ gaslighting. I don't remember if these lines are from the book, but Shirase implying Chuuya's the one "acting like a tyrant" when he literally didn't do anything?? Except ask politely for favors? Throughout the whole conversation he's been the polar opposite. But hey, maybe Shirase's just projecting.

Haha, "somehow".

Nothing to add here except Shirase's body language in this is SO much better than the anime. In the anime he just acted mad and kinda hot-headed. Here he's smiling, acting friendly, giving off those "ofc I'm on your side Chuuya but you make it so hard for these made-up reasons" vibes. Shirase is opportunistic, manipulative, he believes he has control over Chuuya, and therefore his ability.

Of course, Dazai can tell immediately what Shirase is doing. That Shirase has more power over Chuuya than Chuuya does over any of the Sheep (which is once again reinforced by the body language. Shirase's arm over Chuuya's shoulders, swamping him. Being physically taller than Chuuya. Chuuya just kind of standing there, passively.

Also despite what Shirase seems to believe, he and the other Sheep are not one bit smarter than Chuuya. They're eagerly celebrating their victory when Chuuya can clearly tell this is some sort of plan on Dazai's part.

Dazai destroying any leverage they had over Chuuya and yet knowing there's some reason Chuuya is doing this anyway. Offering him a choice.

As I've said before (and it's more obvious than ever in the manga) Shirase's using it to gain Mafia territory by getting some of their members captured. I've stated this before, and we do get a confirmation:

The "self defense rule" is something Chuuya explicitly created. To not strike unless provoked. I have a lot of thoughts on this and why but that's not for this post.

And we have!! Dazai getting pissed off on Chuuya's behalf!! He's scary.

(Spoiler alert: they are not his friends.)

Ahhhh

Ahhhhhhhh

Guys I love this chapter. Because on one hand, Shirase, like the rest of the Sheep, have very legitimate fears. They're literally a bunch of kids that used to be preyed on by other organizations, and if Chuuya is not guaranteed to protect them, then...well...they're in horrible danger, really.

The problem is that Chuuya is ready to protect them. But they don't trust him, and it seems they never have. The whole thing is built on Shirase (and probably the others) holding some kind of emotional and social power over Chuuya, therefore guaranteeing their safety. But when that's not longer the case, well, they don't trust Chuuya to protect them. I'm curious how the manga is going to adapt Dazai's whole "meat" story later on because the issue isn't a selfish conflict of interest. The issue is trust, and the lack of it between Chuuya and the rest of the Sheep.

It's like the Sheep built their gang on high school clique rules, and didn't realize Chuuya's not just operating out of a sense of obligation and need to belong, but genuine care. Anyway, that's all I have to say. The art is beautiful.

[shallowseeker]

hello there!! i’ve been searching for posts about how dean’s “i need you” in goodbye stranger feels more significant (i guess is the word?) than the original “i love you” and i was wondering what your thoughts on it were :)

I think a poet might be able to answer your ask better, so I invite my dashfam to point me to good linguistic posts.

///

As for me, I'm not sure I actually consider one line more meaningful than the other, and I'm not convinced Cas would have understood "I love you" at this point in his life (mentally wounded, brainwashed, thrown around by Heaven) any better than an "I need you."

I think it's highly likely that Cas wasn't actually lying when he said he didn't know what broke the connection in the crypt. That perhaps he couldn't parse his own feelings, especially with his then-fresh mental wounds. (I have this frankly incoherent rambling about how the inability to translate the angel tablet in season 8 is in parallel to how Cas can't read his own emotions/heart. I'll rewrite it to make it make more sense... someday.)

On the other hand, unlike Cas, I think Dean's I love you / I need you line does imply that Dean has worked through his own turbulent confusion with "why Cas feels different than everyone else." We see the line of questioning introduced in The Born-Again Identity, with Dean pondering aloud why he can't shake this and insisting that "of course (the reason) matters!" Dean realized back then that Cas was different. It was charged with... something.

Then, we see such jilted behavior from Dean in the episodes after this... both with Naomi's "I only wish he felt the same way," and Dean's silent treatment towards Cas in the bunker. It seems to me that Dean knows his own heart and is frustrated trying to "read" Cas's intentions, especially with how Heaven keeps wounding Cas over and over, rendering Cas psychologically unable to find his own footing (which is why Cas flees; all that brainwashing is too topsy-turvey for him to get his own bearings and directions sorted out).

///

But I think what interests me most about this season with regards to "I need you," is in the continued motif of Dean's outstretched hand.

We first see Dean's outstretched hand introduced in Purgatory, and it is THE through-line for much of the season. Even the scenes and relationships that aren't about Cas... are about Cas. When Cas throws Dean's hand away, Dean is floored—wounded to the point of rewriting his own memory. After he learns the truth, he's left wondering if he's misunderstood everything that was growing between him and Cas.

But Dean's "I need you / I love you" speaks to his consistently reaching out to Cas anyway, despite all the odds and despite Cas's numerous rejections. Dean just keeps reaching for Cas. He can't help it! (Dean is holding out hope that they do want each other, once the interference and obstacles are removed, that maybe they'll see that in each other... if they just get the chance.)

The motif of hands is so fascinating in season 8, because it's echoed in other relationships, too. For example, when Sam loses faith in himself, he injures his own hand, which Dean bandages in an echo of Church as "the small family supporting each other," against a gorgeous background of the Church as "the corporate megapower," with the angels falling. (It's a beautiful contrast of the different human and angel families.)

There's also how Cas cuts off the hand of (romantic) love, The Cupid, and how the Cupid willingly lets it happen. She extends her hand and lets Cas cut if off, the same way Dean was extending his hand to Cas in the crypt, thinking "I love you. I forgive you," and saying "I need you. We're family."

///Note: It's also like Theee Mixtape: (Love) is a gift. You keep those.

Reaching out is about love, acceptance, and connection. While Dean is doing all this reaching, Cas spends the season being psychologically wounded and threatened by Heaven, running for safety, and then--cutting out hearts and cutting off hands.

///

Yes, so when I look at the Crypt scene, and I see Cas twist and break Dean's arms and Dean is still REACHING... that is what fascinates me the most.

In this season, Dean is trying to help Cas at his own expense, even though Dean wants them to be together, he's helping Cas "fix Heaven," even though Heaven is going to take Cas away from Dean.

//

^ Here they sit, no longer in the kitchen-of-intimacy but in the bar-of-friendship, lamenting their inability to be in a romantic relationship together.

Dean knows he's in love with Cas at this point, I think, and while he suspected Cas had feelings for him, Dean withdraws, trying to respect Cas's space and support him in his chosen path of permanent, painful separation. (Dean knows how it is, of course, to support your family at the expense of your own personal happiness.)

Little does Dean know, that Cas's main motivation for fixing Heaven is to protect his human family. Metatron echoes it, and in The Great Escapist Naomi underlines to Cas that Heaven would not hesitate hurt his human loved ones.

METATRON: At the very least, it would st – [dog barking in distance, another warning] It would stop the fighting up there from spilling out down here, which will happen. It always does.

(In her pursuit of Cas, Naomi destroys the humans in the family diner in The Great Escapist.)

///

But by the time Cas is actually ready to take Dean's hand, Gadreel engineers a reversal of the outstretched hand, kicking Cas out of the bunker, in a parallel to Dean from season 8, Cas is the one left thinking that he's misunderstood everything.

This is underlined by his soliloquy to the baby. In an episode where it's shown that "medic angels" react to emotional pain as readily as physical, we're left to wonder: is this how angels were trained to deaden their emotions in the first place?

No wonder they might not recognize what they're feeling. No wonder Cas has struggled to connect to his own emotions whether he's human or angel. Maybe it takes "becoming closer to human" for angels to connect with that deadened part of their hearts/minds.

CASTIEL (to the baby): Nobody told you. Nobody explained. You're just … shoved out kicking and screaming into this human life, without any idea why any of it feels the way it feels, or why this confusion, which feels like it's … a hair's breadth (The baby stops crying.) from terror or pain. You know, just when you think you do understand, it'll turn out you're wrong. You didn't understand anything at all. Guess that's just how it is when you're new at this. You know, it wasn't that long ago when all I'd need to do to ease your pain was touch you.

I think it's so fascinating that Dean and Cas are framed as (romantically) reaching for each other over and over,. Not to mention, with Dean wearing "the handprint" on his shoulder, because Dean's a character with his heart obviously on his sleeve... if you dare to REALLY look at him anyway (as Dean invited Mary to do, to see him).

In Dean and Cas's fights, they tend to break each others' arms/hands, and yet... they continue to reach for each other... in parallel.

x - x - x - x - x - x - x

///

ADDITION: That family needs each other is a theme that is used over and over in this series. We are shown loss and love in almost every form (familial, friendship, etc. Ex: The Chuck and Amara forgiveness speech.)

But it's the motifs around the Dean-Cas one in particular that lends an intensely romantic context that imho sets it apart from the other instances.

[magewritesstories]

[ SPENCER REID ] GIRL DINNER

cw. you and spencer are alone in the bullpen after a long case and you introduce him to girl dinner, guest starring spencer's glasses bc why not. [ fluff ] note. i used what my comprehension of girl dinner is but there's a lot of different opinions on what it's supposed to be. wc. 622

THE BULLPEN IS QUIET AS THE CLOCK STRIKES 11:30 PM. Spencer sat in his office, wondering why he ever took Emily up on the offer of becoming Unit Chief.

The pile of unwritten reports seemed never-ending, and the pile of written ones barely growing.

The man sighed as he ran a hand through his hair, casting a glance out his office window to look at the single lit light coming from your desk, where you're also hunched over a profile.

He quickly checks the time on his watch and gets up.

"You should head home, it's late," he stated, leaning against Luke's desk, which was parallel to yours.

You looked up from the report in your hand. "It's okay, I'm almost done anyway—what about you?"

"That doesn't count, I'm unit chief," he replied with a simple shrug of his shoulders.

"I didn't realize unit chiefs weren't human," you replied with a teasing tone.

Spencer just shrugged. "I told JJ I'd write her share of reports so that she could go home and spend some time with Henry and Michael. What's your excuse?"

"Just looking at the pile of unwritten reports on your desk made me tired," you answered. "I didn't want to add to it."

"I don't mind, you know."

"I know, but just because you don't mind doesn't mean I should take advantage of it every time—besides, believe it or not, I had nowhere to be anyway."

You gave him a small smile that made his heart flutter.

He stayed quiet for a minute (by accident) before quickly clearing his throat. "Uhm, have you—have you had dinner?"

"Sort of," you shrugged. "I had girl dinner if that counts."

Spencer frowned as he said something he found himself saying a lot more often with you around, "I—I don't—I don't know what that means."

You used your pen (pink with a small kitten attached to it—probably from Penelope's 'Batcave') to point at the empty plate sitting at the far edge of your desk.

"I had a small container of yogurt, a cup-o-noodles, and some apple slices," you explained.

"That's just a bunch of different snacks," Spencer blinked in confusion.

You shook your head as you corrected him, "Actually, it's a bunch of leftovers I found in the fridge—don't tell Terry, he's very serious about his yogurt."

"Still not sustainable," he countered with a smile, pushing his glasses further up the bridge of his nose.

"It's three out of the five main food groups," you replied with a grin. "Besides, it's not like I eat like this every day. I just didn't want to waste time getting dinner when I wasn't that hungry anyway."

You leaned against your chair, spinning slightly, as you looked at the slight crease between his brows.

"Tell you what, boss," you said, "If my choice of dinner bothers you that much, why don't we go out?"

"Wha—what?" he asked, snapping out of his daze.

You smiled at his flustered expression. "For dinner, obviously. C'mon, my treat, y'know, for being such a great boss."

"I—I—"

"It'll be fun," you insisted. "There's this great Thai place that opened a few streets down from that bar we went to the other day. JJ said you don't know how to use chopsticks, and I would love to see you try."

Spencer shook his head. "I taught myself, actually. I can use them now."

"Great, I guess you can prove it to me," you replied.

"You really think that place is still open right now?"

"Yep, opening hours are from 7 to 2," you answered. "So if we can finish these reports before then, we should be fine."

Spencer sighed before giving you a smile. "I'm going to try."

"Great, it's a date!" you exclaimed as he turned back around to walk to his office.

You were going to give him a heart attack one of these days.

[the-ineffable-dance]

Holy Palmers Kiss

Throughout their history together, the romance between Aziraphale and Crowley has mostly been expressed through incredibly subtle ways. It's been centuries (if not millennia) of nothing more obvious than a surreptitious brushing of hands or yearning looks when they think no one is watching. And of course, when they have plenty of deniability.

Good work, Aziraphale... hand on the chest of the Thin Dark Duke, and if anyone asked, you were just making sure that young lady didn't get bumped.

And this is for a very good reason. It quite literally isn't safe for them to be openly romantic with one another, even now. Demons like Hastur and Shax are constantly popping up... Michael and Uriel are always watching... eyes are everywhere.

They have certainly gotten closer to being open in the years that separate the two seasons. Crawley sprawls all over that bookshop like he has a personal vendetta against chairs - removes his glasses as soon as he steps foot inside (which is an incredibly coded action that I would love to take a more in depth look at in the future) - gives up the keys to the Bently... And Aziraphale himself has those longing looks - calls him up to talk enough that Crowley knows his "tones of voice" - and then, we get The Ball.

Technically, The Ball is for Nina and Maggie... or at least that's what Aziraphale says. We get the lovely little moment in the pub where he and Crowley try to come up with the best ways to get humans to fall in love with each other. But the moment Aziraphale mentions Jane Austen having characters dancing with each other and realizing how in love they were, I think at least for him the focus changes to this... THE BALL IS FOR CROWLEY. And once he starts giving away books to make sure the ball will be perfect, there can be no question. The entire idea is a way for him to be able to dance with Crowley.

That's why, for me, the most romantic moment in all of Good Omens, at least from Aziraphale's point of view, is this moment right here.

Vavoom! Sorted! Look at the way Crowley even curls his fingers around Aziraphale's hand! This is peak Aziraphale romance as a fan of Jane Austen.

But he's also a fan of Shakespeare. Even the gloomy ones. And every time I watch this scene, I'm reminded of a different ball from one of the gloomy plays that Crowley would hate and Aziraphale would swoon over. Romeo and Juliet. A fitting parallel to an angel and a demon being in love.

In Romeo and Juliet, at the end of the first act, is another ball. Romeo tries to get Juliet to kiss him, and she turns him down with this...

"For saints have hands that pilgrim's hands do touch/ And palm to palm is holy palmer's kiss"

There's quite the back and forth here between Juliet and her Romeo about hands and lips and such, (and eventually Romeo gets his way) but the parallel for Aziraphale in this exchange is unmistakable. He, as the angel, is the saint (and stand in for Juliet), Crowley his pilgrim. Snogging in public would be absolutely out of the question for our dear prim and proper Aziraphale... but this is a chaste kiss, and one that he is showing the world. A public declaration of his love for Crowley. A Holy Palmer's Kiss.

It's certainly debatable if Crowley would have picked up on it. Like a lot of their coded language there are times when one of them misses what the other is trying to say. But in my opinion, this was not only a public declaration, but his confession to Crowley. This is his "I love you" as much as "I forgive you" is.

Just for fun, here's how Romeo finally gets his kisses (but let's have Crowley stand in for Romeo and Aziraphale for Juliet, shall we?)

Cro. Thus from my lips, by yours, my sin is purged. (They kiss)

Azi. Then have my lips the sin that they have took.

Cro. Sin from my lips? O trespass sweetly urged. Give me my sin again. (They kiss again)

[myechoecho]

When the Phone Rings, ep 6

I appreciate that the show actually addressed what many thought after last episode: how could Sa Eon not know it was Hee Joo on the other end of the phone, especially after seeing her on an unfamiliar phone? For the most part, I buy the explanation. It makes sense to me that he would deliberately ignore all the signs because it opens up a bunch of other things he does not know how to deal with. I do like how he fixated on the call with when Hee Joo mentions the mole because now he knows the picture was her and it must drive him wild.

We find out that Sa Eon does not remember the 'kiss' at first, but Hee Joo was able to get him to confess that he likes her. I loved the how they essentially played keep away with Sa Eon not giving the lingerie back. It hints at a very playful relationship, once they sort all their issues out. Sa Eon remembering the kiss, shoving her away and then running out of the room is a loser in love vibe but one I can actually fully get on board with.

My favourite scene is the phone conversation, the first one they have when he absolutely knows it's her. We learn that he has nightmares and as a child the only thing that calmed him was watching Hee Joo practice sign language at night. He knew the Hee Joo's home was a prison for her, just as his was for him. When Sa Eon made the deal, it was to give her freedom from that place. He thought she'd be more free but never realized that she would feel like it's a prison (though he called her a hostage which feels like a contradiction to the freedom part).

The reason he was so distant and cold was to not get too attached. Or to be more precise, even more attached than he already was. Sa Eon knew this was not a marriage that she chose so he always anticipated he'd have to let her go. But if Hee Joo is willing to give him a chance, and he will shower her with all the love and understanding he has for her.

Once she give her tentative ok, he is all in. He puts forth the effort 110% and still asks for advise from the married guy. He is possessive, but does listen to her as well. I do adore that he only thing he wanted was a picture with her. And he awkwardly did the heart hands with her.

My second favourite scene which is the other phone conversation. It's a bit of a interesting parallel since now we have Hee Joo ignoring that he obviously knows that it's her. Though in this moment since she just was shoved off a cliff it makes sense. I adore how he tells her of the emergency kit in her bag with the flare so she can save herself. I adore how she gets the strength to get the kit out of backpack because Sa Eon says he's terrified. I cannot wait to see him find her (and omg the preview for the next episode had me squealing).

In A remains very interesting to me. I don't think she's quite the villain. Yes, she was rude to Hee Joo's mom, but at the same time Hee Joo's mom is awful and I wonder if she saw her for exactly what she was. Yes, what she did to Hee Joo was terrible, but it also made some kind of twisted sense. Plus she is owning up to it. She hasn't apologized, but she knows she did wrong. I think that one of the reasons she made the agreement with Sa Eon was to not only gain freedom for herself, but to free Hee Joo as well. She just didn't anticipate how deeply being mute is ingrained with Hee Joo. I also wonder if she did understod Hee Joo when she told In A off in sign language.

Now it's pretty obvious that Sa Eon is a replacement for OG Sa Eon. OG Sa Eon was disturbing enough that his own mother was terrified of him. It's also evident that while she mourns the loss of her bio son and is bitter about it, she's more guilty/bitter at the relief and freedom she felt with him gone. Sa Eon's father is the same. This show has a recurring them of prison/freedom for all of it's characters.

However, what might be the bigger reveal is that Sa Eon has a twin. There was always someone behind the kidnapper who was pulling the strings. OG Sa Eon is the one doing all the grunt work; the one with the brains and the plan behind everything must be the twin. I am so interested in what happened.

[ardbar]

You know. Noobs aren't really expected to last very long. Every time we see one that isn't Evbo, they never last long. We watch at least 5 of them die. Who knows how many Evbo has watched die. They probably aren't expected to last more than a few weeks.

And who would waste resources teaching things to people who will be dead in a few weeks anyways? Who would even teach them things? The Pros? The pros would Never, even if it was their Daily Task they would likely just sneer at the Noobs and call them stupid.

It makes me wonder. How many things are considered Common Knowledge that Evbo simply doesn't know even exist? How many things does he do that everyone else would consider him Utterly Insane for that were just... normal on the Nood Level?

EMF catches him using a bucket of water and bar of soap to wash his clothes instead of a washing machine and just thinks he likes doing it the old fashioned way. Shades Pro sees Evbo counting on his Fingers, only after 5 he's speaking jibberish. Shades decides he misheard him or Evbo is fucking with him. Seawatt finds him picking grass blades off a grass block and turns away with a roll of his eyes, not seeing Evbo stuff the fistful of grass into his mouth. He says that even reading is parkour because that's how he refers to all things he's never seen before (and 90% of the time is Correct in this assumption) and EMF and Seawatt think he's just making a joke.

And no one helps him because they don't know he needs help. They don't know that he can't read or write, he doesn't know numbers past 5 and ended up making up names for them, doesn't understand any sort of machine, even unable to understand how furnaces work really, as they had them on noob level but had no fuel for them, he eats grass blades because sometimes... sometimes Pros would "forget" to deliver some meat to his house, or he would be late and not get any, or sometimes the hunger would just get To Bad. Does he even know what a callender is? Evbo has no idea any of these actions are incorrect or that there's things he should learn.

After all, how can he possibly ask for the answers to a question he does not know exists?

Wait I actually love this. I've also believe that Evbo just wouldn't know as much as everyone else because as you said the Noob level just has no infrastructure. Like to your point about him saying even reading is parkour, he specifically mentions he only started to learn it after becoming the champion. This really goes to show how the noob layer just wasn't cared about. However this has always made me question some things, what exactly is the point of the noob level if ranking up is impossible. The master level is obviously a parallel for the wealthy elite, which would make the pro level something around the working class, following this type of logic the noob's would be like the lower class and menial labor. However, the noobs don't actually do anything. While we didn't spend too much time in the noob level all we really saw was that they have to do their daily parkour for food and then as long as they follow the rules they have no other tasks. Do they just exist to keep the pro class busy, to make the pros not realize they are still at the bottom of the social hierarchy?

Personally I think it would be cool if that was why the Noob layer is so underdeveloped and as you said not well educated. The noobs were only a means to an end. I think it would make sense that the Pro level has the biggest population since they aren't prone to dying like the noobs and because they do most of the jobs. Because they have the biggest population and thus a decent amount of sway the champion keeps the noobs around to make the pro's antagonize them instead of trying to rebel against the masters and him. By keeping most of the conflict between the pros and noobs he has effectively prolonged his society.

The noob's exist as an example that things could always be worse. That while the pros need to work to get time to practice parkour they at least have food, they at least have nice homes, they are safe as long as the noobs exist.

Personally I think it would be really fun wrote a fic about various things Evbo does and everyone else just looks at him like, "how are you alive right now?"

[reneesghostinthelivingroom]

Ghosts Like That

|| Parallel Powder x fem!reader

|| Warnings; season two episode seven spoilers, reader has PTSD about the heist, descriptions of PTSD and anxiety, brief swearing, hurt/comfort/fluff

|| Summary; when reader finds herself back in memories she would rather forget, Powder helps her back to the present.

Requests closed!

Started; December 16th

Finished; December 17th

HurtCember2024; Day 14, Near Death

~~~

It's been years since you nearly got caught in that explosion along with Vi. Years. You weren't even close to being over it. You'd almost died. That was... well, the closest thing to a near death experience you'd ever had. It was terrifying. You were just a kid. It still haunted you in your dreams. Seared into your mind as though it had just happened in the present moment. Ghosts like that never really leave.

You'd been up working in your girlfriend's workshop. She often let you tinker with the bits she wasn't going to use. Who was she to stop a creative mind, after all? You caught a flicker of a blue flash from a spark and suddenly you were back in that fancy piltover workshop. Your breathing picked up, the sound of an explosion ringing between your ears. Your eyes teared up and you cupped the side of your head. Screaming to get out the overstimulation you were feeling. Or, at least trying to get it out. Your whole body buzzed with phantom pain. A jitter to your bones you couldn't quite shake.

Powder had just gotten home after visiting with Vander and Silco at the bar. Humming happily to herself. Until your scream cut through the air. Panic flared inside her chest, adrenaline spiking. She burst the door open so fast she was shocked it didn't go flying. Her heart sank at the sight of you; her legs moving before her mind could catch up. In no time at all, she had you in her arms. Cradling you. Holding you close with care. Fearing to make it worse.

"Shh, shh, you're okay. Just breathe. You're at the workshop. Breathe. Feel the seat under you," Powder tried desperately to ground you. It wasn't her first time handling the PTSD you had. She'd come to learn your triggers and the methods that helped calm you.

You could faintly hear your girlfriend talking. But you couldn't see her. Not- her her, anyway. You saw little Powder. The workshop. Little Powder trying to talk to you and ease you through it. This- wasn't how the memory went. The realization of that is what helped you to start grounding yourself. Slowly, the fancy workshop around you faded. Replaced with the familiar one you'd grown to find comfort in. The colours. The work bench. The art work on the walls that was a combination of both yours and Powder's drawings. Heck, even Mylo got around to sticking one up of himself. It was terribly drawn and you couldn't help but chuckle looking at. Even in your state.

Powder looked down at you, following your eyes to the picture Mylo had put up recently. She smirked, her thumb brushing your arm," Mylo isn't the best artist in the world, is he?" Powder asked. Hoping the picture would make for the perfect distraction for you.

You shook your head, leaning into her chest," no. I've seen better drawings from kids," you laughed. Powder eased at the sound. You were laughing, that was a good sign. Even if it was at Mylo's expense.

"Yeah, I can't tell if that's supposed to be his arm or his head," Powder pointed to the art. Squinting her eyes to get a better look. Maybe it was a blaster of some sort? Fuck if she knew.

"Pfft, he looks more like a spider than a Mylo," you smirked at your own comment. Powder burst out laughing, nodding in agreement to you. He did, didn't he? He could have presented the drawing as a spider and she would have fully believed it.

Powder's eyes focused back on you. Her expression softened, admiring the little crinkle next to your eye. Caused by the smile on your lips. You turned around pretty quickly this time. Maybe that was a sign of it getting better? Powder sure hoped so. She didn't like seeing you in pain, "How you feeling?" She asked, being careful not to trigger you again.

"Better," you murmured. Snuggling up to your girlfriend in the chair. Eyes still on Mylo's picture. Who knew a poorly drawn Mylo would have been what helped calm you down?

"Good," Powder gave you a gentle kiss. Your lips moving against hers in slow, practiced movements. The last of the memory fading from your mind. Hoping that it wouldn't be back any time soon.

[fjorests-of-wildemount]

Orym's feelings for Dorian and the place he is in right now are fascinating because he *did* get to know Dorian before he left. And it hasn't been that long, even though they have both experienced so much trauma and loss in the intervening time. Just because a part of Orym longs for the times before Dorian left, and even though nostalgia has put a shine on Dorian for Orym, I don't think that means he's fallen for the idea of him rather than the reality. They have both missed so much, but in the end they *are* paralleled to each other. Orym may be saddened by what Dorian went through, but a Dorian who never knew loss couldn't understand Orym as he is now. There is a potential there for both of them to truly be *known*.

Orym didn't ask Dorian to come back as a band-aid, or to reminisce or somehow bring simpler times with him, even if that was part of the longing. The initial reality that Dorian, too, was affected by the same sorts of things that affected Orym is jarring, but they can re-learn each other. Dorian has meant safety and support to Orym for a longer time than the time they've been apart, and I don't believe Orym would turn away from him because he's angry and grieving.

"Dorian," Orym said, truly and sincerely. "I'm so sorry."

Realizing that he's spent all of this time needing Dorian, and maybe Dorian needs him, too.

[menlove]

can you direct me to any good fics set in the hamburg days or just anything pre-beatlemania?

oooh yeah ! i loooove hamburg & early days fics so certainly :) i didn't include any paris fics in this even though it technically fits the bill of pre-beatlemania just bc that's a totally different vibe & genre of fics tbh

hamburg:

I Need My Love to Be Here

explicit. 8k. After John gets his first panic attack in Hamburg, he starts to realize that Paul might be the only person who can bring him back to himself.

Put My Heart Around the Bend

explicit. 60k. He nodded and they sat across from each other on the window sill, the clammy air from outside kissing their cheeks. John watched Paul as he lit their cigarettes, as he had done so many times before. They held eye contact, and John just knew Paul could hear how hard his heart was beating. But he wouldn't say anything. Neither of them ever said anything.

Like Love, The Archers Are Blind

explicit. 22k. He wants to push Stuart out of the way, not even with a violent yank of his collar like he sometimes imagines. Just to melt into his place like butter sliding in a pan. Have it be an effortless breath of fresh air when John looks up at him and sees it all reflected back in his eyes. It’s you. Hamburg, 1960.

Running with Scissors

explicit. bluewater9: Hannah, a smutlet idea… So just what happened AFTER John cut the clothes off that girl in Hamburg? What a conversation and, ahem, J/P consequence that must have been!

No More Situations

explicit. 14k. Set during the Hamburg years. John gets jealous of a German guy who likes Paul.

Everything's Different in Germany

explicit. 4.5k. It all feels upside down, like the door to that shop was an entrance to some parallel universe or Wonderland-like rabbit hole. He isn’t hiding under the covers with a flashlight in one hand, his throbbing cock in the other, and some meticulously-posed bird’s chest spilling over the pages and onto his lap. Instead he’s in some Hamburg back alley, the concrete chilly beneath his bum and his best mate warm by his side, while he gazes over naked men and pretends not to feel the unexpected interest in his trousers.

ageless children, animal sweat

mature. 5k.

Paul is sitting close enough to see properly, one elbow on the bartop, hand tucked beneath his chin. His eyes are beetle black and his long spidery eyelashes are twitching under the harsh club lights. It makes John sort of sick to look at him. Pale face in stark chiaroscuro, gleaming with animal sweat, Paul looks otherworldly, like something neither man nor woman. Hamburg, 1960. John and Paul go to a gay bar after a late show.

general early days:

Above Us Only Sky

teen. 1k. Nowhere to go but up.

Some Girls Will Make You Shiver

explicit. 4k. “How d’you suppose,” John said, in his normal John-voice, “how’d you think two girls go at it?”

On The Way To Work

explicit. 14k. How could Paul have so many dreams and one of them not come true? Paul and John, Hamburg and Liverpool, December 1960.

two of us (burning matches)

explicit. 6k. It won't stop raining. Paul doesn't know what his feelings are doing. John's practising his right swing. Somewhere along the way, they fuse together.

The Drainies

mature. 11k. Written for the prompt: John bullies Paul into wearing tight drainies and the result awakens something in both of them (Can also include some John vs Jim stuff since Jim didn’t approve of Paul wearing tight clothes).

Boy, You've Been A Naughty Girl

explicit. 49k. John makes Paul a bet. Paul takes him up on it. Crossdressing shenanigans and angst ensue, and ~feelings come out in the wash. 1961.

now and then (there's a fool such as i)

mature. 30k. users only. John and Paul on their trip to Caversham, Berkshire. April, 1960.

christmas lights (keep shinin' on)

mature. 12k. (prompt: paul takes john to the family christmas party in 1958) "I'd have you," Paul said, eventually, and John felt the air being knocked out of him. "If it was different. If we were different."

Come And Go With Me

mature. 94k. When two oblivious teenage boys meet for the very first time in the summer of 1957, a transcending bond to be passed on through decades to come makes its initial formation; a sanctuary, a home, a secret, a storm, a song, and a love to surpass the regular circumstances of time itself; it all starts in a city called Liverpool - but where will it take them from there?

also not to be that person but i WILL also whore out the first part of the series i'm writing w @forthlin here that's early days/getting together: i want you (every time that you're near)