#i hope my interpretation of her makes sense

[secretarysong]

so much Mayday stuff (& a smidgeon of Vinyl City worldbuilding) in my head. ooouugghh. wrote this at 12am last night and i'm not the best at articulating my thoughts so forgive me as this wooonnt be the most polished. this is likee a mini conglomeration of personal headcanons and a bit of analysis (reading too far into things) ... i just wanna talk about her REEEAALLL BAAADDDD

i've always thought of Mayday as someone so deeply intertwined with Vinyl City (specifically the working-class & lower-class areas; the 'little guys') that her dream of becoming a big famous rockstar also stems from a desire for agency/power. power to be able to do SOMETHING in the name of her communities after personally living through, like, 2 decades of neglect—condemned by NSR to live in the shadow of the more tourist-oriented/commercial/profitable parts of the city—even if it means rising to charterhood under the same stupid record label that's the source of all her problems in the first place ...

i also like to believe this, in tandem with her rumbustious nature, is why Mayday IMMEDIATELY switches to aggression (dare i call it a TV meltdown...?) following her & Zuke's flames being so harshly snuffed out during the Lights Up Audition.

Mayday was probably warned beforehand by the adults around her about the EDM bias. i think she ignored/dismissed every warning/dissuasion because she believed in herself and her ability and her principles too unshakably for her own good. and then for the judges (particularly Tatiana) to unanimously strike her dream down like that, thus proving their warnings right & her hard work (and ignorance) in vain... FURY!!!! (Mayday is NOT the best at taking losses with grace)

and then the banning of Rock from the Lights Up Audition happens. and then the subsequent blackout and diversion of energy happens. and seeing the extent of what happens across the city with her own eyes from atop the ledge (after being limited to her own ground-level experiences on the outside, looking inward) is what finally tips her over the edge and into the vat of a full-blown revolution.

semi-related, but i also view Mayday's hatred towards EDM as. like. a general prejudice. it goes a bit deeper than just Not liking the sound/style; she associates it with NSR, and therefore links it with everything wrong with Vinyl City. rock music, a dying art in the era being upheld by her tightly-knit community, untouched by NSR, to her is authenticity.

she also loathes the "Order leads to progress in Vinyl City." slogan because, to her, order means complacency... and complacency has done shit all for anyone she knows. ("If chaos is what is needed to get things done around here, so be it!")

i know i'm kind of bouncing back to the second paragraph but. like. there's just something so dear to me about the idea of a Mayday whose a roving city girl from off the streets... armed with her guitar, her passion, and her support system, doing everything she can to prevent rock—her home—from becoming irrelevant. always chasing a fantasy about being something bigger than herself. even if the odds are stacked against her. even if Mayday's own impetuosity is a double-edged sword that impedes her just as much as it enables her.

to me she's. like. a melting pot of ambition and stubbornness and righteousness and naievite. Mayday girl i love you SOOOOOO SOOOOOOOOO MUCH ideally i would put this all into a legitimate form of writing like a backstory fic or something but gah i don't even know where to START

[thebramblewood]

This book might as well be called So Your Deadbeat Vampire Dad Abandoned You: What Now?

Previous / Next

Helena, thinking: Well, if it’s just going to sit there, I might as well read the thing…

Introduction: Vampirism is no easy existence and will certainly not be long endured by the weak-willed, faint of heart, or squeamish. Fledglings who lack the knowledge or means to satisfy their all-consuming thirst and guard against their newfound weaknesses are far less likely to survive the initial stages of transformation, in which the craving for blood threatens to override all capacity for self-control. If they find themselves lucky enough to be under the tutelage of an intelligent and attentive sire, young vampires can not only mature but thrive for many centuries in their strange new forms. However, the presence of such a devoted mentor is not always guaranteed. Therefore, this book aims to serve as an instructional guide to attending to one’s needs and harnessing one’s abilities for those newly turned vampires who find themselves without a teacher.

Helena, thinking: Hmm, it's almost a little bit too on the nose.

Chapter 1: Dark Form Mastery

Helena, thinking: God, I feel ridiculous. Did it even work? It’d be nice if I could see my reflection right now.

Chapter 2: Bat Manifestation and Flight

Helena, thinking: Here goes nothing, I guess.

OW! OOF!

That’s going to take some practice.

[welcometogrouchland]

Hello, another doodle compilation post of everything I haven't posted since the period of May to now that I didn't hate but didn't like enough to post on its own + fanart i made of @catboymoments's fankids Azura and Hyacinth! I'm not normally a fankid person but these guys are a whole moment unto themselves I love them sm. ID in alt text bc it was getting lengthy! Let me know if there's any issues

[moodmoodthecrabking]

sapphic alice woodward moodboard requested by anon

[sailforvalinor]

Idk if this is controversial, but studying for a English/writing degree at university shouldn’t make you NOT want to engage with writing or literature. Just a thought.

[deus-ex-mona]

here’s to hoping that hw manages to correct their typo in noontea’s post-chorus bg lyrics in time for the full release—

[caeslxys]

"I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?"

good meta op, but i'm slightly confused about this part. are you talking of the fandom here or the narrative? because from what i've seen and remember, imogen has definitely been scolded or villanized as you say, by the fandom, but has she been treated that way by the hells or anyone else? i guess keyleth comes to mind, but apart from that, the hells seemed supportive of her wanting to reach out and reconcile with her mom.

Prefacing what i'm sure will be an overly long mostly tangent: you obviously do not have to agree with my interpretations of any scene I'm about to bring up and if you don't sick cool please do not make it a problem

A bit of both, to be honest! The use of the word “villainizing” was definitely more geared toward fandom response, but Imogen has absolutely been scolded—or maybe shamed is the better word—in campaign several times! Yes by Keyleth threatening her in front of them all just for being ruidusborn and related to Liliana, but also by Orym in particular several times.

Which is not to say that Orym doesn’t want Imogen to save her mother—obviously he does!—but it has definitely been more than once that he has shut down her grief and her processing her relationship with her mother by inserting his own grief over it, notably in the immediate aftermath of Ruidus and convo with Liliana.

(Which, yes, he immediately apologized for, but I do find it interesting that Imogen got shit from fandom for her response in the scene I'm about to bring up in episode 49 for EVER but no one was allowed to criticize Orym's response as impulsive and insensitive there and he notably was not disassociating or being actively manipulated. Just think it's interesting!)

And while it wasn’t nearly so livid in it’s delivery, that moment in 49 where she was just trying to process seeing her mother and speaking with her and being presented with the idea of peace for the first time in her life was delivered (though you could argue this wasn’t his intent; honestly I don’t think it was, but—) in a way that immediately had her plummeting into self-deprecating apologies for being effectively manipulated. I’ve actually written a bit before about how I find the youth of his grief making it more volatile in comparison to the rest of the hells’ grief deeply compelling as a thematic beat!

That’s a bit of a tangent just bc I find specifically the dynamic between Orym/Imogen/Liliana to be a very compelling one lmao but even in the Uthodurn arc with Chetney insight checking her to see if she was telling the truth or not about her intentions with her mother. Or Fearne bringing up to Orym (also back in 49) the question of what they planned to do with/to her if she turned. It's not that I think, necessarily, that those were ill intentioned but they were coming from a place of, at best, mistrust specifically because of her connection to Liliana. Really only Ashton and Laudna—and FCG, funnily enough—have not in some way taken her grief and yearning and turned against her when it comes to placing their trust in her (whether she was aware they did so or not), which of course speaks to a certain interpretation they had of her character at the time.

And, also, this has obviously since changed and most of them mostly understand where she’s coming from now—especially Orym!—but it doesn’t make the fact that it happened any less true!

[bedforddanes75]

desperately need tiktok ethel cain fans to know how stupid they are

[stagehunt]

more thoughts on aven and topaz and why i don't really interpret them as having the close relationship that i see a lot of in the fandom + his general feelings about her. talking about the checking out quest a little in the beginning.

screenshots from my own transcript but they're still word for word. aven is more than aware that the tb is never going to accept a job offer from the ipc and treats this entire exchange as the joke that is, and an excuse to get under topaz' skin a little. just for fun. interesting then, how topaz immediately starts to get very personal during this little debate — while simultaneously displaying how well she actually knows aven, which is honestly not at all. i wouldn't blame this on a lack of understanding on her part, but on the way aven keeps everyone at arms distance, a distinct lack of trust in her from aven, and radically different outlooks on their work and life.

both of the dialogue excerpts kind of highlight that but i want to focus on the second one here because it immediately reminded me of a personal headcanon when i was playing the quest through.

so. i'd already made the assumption that aven didn't have many staff working under him — both because of his treatment within the ipc / the varying reactions to who he is and his history with the previous aventurine which is pretty much public knowledge, his preference for working solo, and his habits of putting himself in harms way and taking very unreasonable risks. he'd assume that topaz sees these " work habits " she mentions as the main reason that people don't work to him but he also knows that she isn't foolish enough to think that's the only reason anyway. which is why he then immediately reminds her that diamond doesn't particularly care WHAT he does so long as he secures the bag at the end of the day.

it's for things like this, and her general hostility towards him ( which does seem to vary, but her voice line about him is very harsh as opposed to what she tells us about him when she knows he's around / how she acts to his face ) and with the sheer amount of manipulation she's under, the things she genuinely believes about the ipc and her job there, he does personally think that it's impossible for her not to have absorbed at least some of the ipc's common opinions on him, the avgin + avgin extinction event / ipc's involvement on sigonia, and the egyhazo - aventurine case, and allowed them to colour her impression of him before really getting to know him.

however as i mentioned in those disc screenshots, aven is obviously aware of the predatory nature of the ipc. he's been working there for almost a decade now, he was a teenager when he first wound up there, and he understands what happened on topaz' planet very well. he understands that she's naive. he understands that she has been essentially groomed, as well as the fact that she's very dedicated to her work. but he also understands that she's a kind hearted person, and that she does try to do what she thinks is the right thing in most situations. it would be ridiculous for me to say that he doesn't sympathise with topaz, even if he does find her a little obnoxious and annoying to be around.

so while he doesn't necessarily feel enough responsibility towards her to put up with her apparent dislike for him, he does subtly keep an eye out for her. when she first became a stoneheart he figured that she should be able to understand his situation better than anyone and that it would make sense for them both to have each others backs as much as possible. but from what he's observed and how they interact with each other, he just cannot convince himself that it would be safe to trust her. he knows he'd have to be careful with his words around her, and that at least currently, she wouldn't ever choose him over the job. still, he has a feeling that if she were ever to open her eyes to what she is complicit in, she'd despise the truth and herself as much as he does, if not more for being so easily strung along by the likes of jade.

so are they friends? no. but if topaz ever genuinely needed help he would be there. he would understand.

[upsidedowngrass]

i adore your liam so much!!! 🫶 im curious though how you explain the changes for ep 15+/why the waiting room didn't heal his scars? are they just Too Bad or....

thank you!!!!

the way i interpret the waiting room i think mainly revolves around the fact that when an injury heals irl, the scar IS because it healed!! i draw the one characters w them bc the waiting room is def able to heal injuries as shown in ep, but i dont imagine that would make it so that there arent scars if that makes sense?? that said, i ALSO hc any injuries healed in the waiting room to still be treated like any injury would act if it would had they been healed, such as muscles still having issues that exist after something has healed, or nerves being damaged no longer being able to send signals as they would before!!

basically, i think of it as the injury being fully healed in a realistic sense!! that the aftereffects of something healing would still exist, but any active damage is restored and treated as if the body continued onward!!!

[steveyockey]

To be aware you might be trans but unwilling to do anything about it is to create endlessly bigger boxes within which to contain yourself. When you are a child, that box might encompass only yourself and your parents. By the time you are a gainfully employed adult, that box will contain multitudes, and the thought of disrupting it will grow ever more unthinkable. So you cease to think of yourself as a person on some level; you think not of what you want but what everybody expects from you. You do your best not to make waves, and you apologize, if only implicitly, for existing. You stop being real and start being a construct, and eventually, you decide the construct is just who you are, and you swaddle yourself up in it, and maybe you die there. There is still time until there isn’t.

This reading of TV Glow’s deliberately anticlimactic, noncathartic ending cuts against the transition narrative you typically see in movies and TV, in which a trans person self-accepts, transitions, and lives a happier life. Owen gets trapped in a space where he knows what he must do to live an authentic life but simply refuses to take those steps because, well, burying yourself alive is a terrifying thing to do. The transition narrative posits a trans existence as, effectively, a binary switch between “man” and “woman” that gets flipped one way or another, but to make our lives so binary is to miss how trans existences possess an inherent liminality.

Humans’ lives unfold in a constant state of becoming until death, but trans people are uniquely keyed in to what this means thanks to the simple fact of our identities. You can get lost in that liminality, too, forever trapped in a midnight realm of your own making, stuck between what you believe is true (I am a nice man with a good family and a good job, and I love my life) and what you know, deep in your most terrified heart of hearts, is real (I am a girl suffocating in a box).

And yet if you want to read the film as being about the dangerous allure of nostalgia, you’re not wrong. I Saw the TV Glow totally supports that interpretation, too! But in tempting you with that reading, the film creates a trap for cis viewers that will be all too familiar to trans viewers. Somewhere in the middle of Maddy’s story about The Pink Opaque being real, you will make a choice between “This kid has lost it!” and “No. Go with her, Owen,” and in asking you to make that choice, TV Glow is simulating the act of self-accepting a trans identity.

See, the grimmer read of the film’s ending truly is a nihilistic one. It leaves no hope, no potential for growth, no exit. Yet you must actively choose to read that ending as nihilistic. If you are cis and the end of I Saw the TV Glow left you with a gnawing sense of dissatisfaction, a weird but hard-to-pin-down feeling that something had broken, and a melancholy bordering on horror — congratulations, this movie gave you contact-high gender dysphoria.

In an infinite number of possible universes, there is at least one where I am still living “as a man,” embracing my fictionality, avoiding looking at how much more raw and real I feel when I “pretend” to be a woman. I think about that guy sometimes. I hope he’s okay.

Consider, then, my cis reader, that TV Glow is for both you and me, but it is maybe most of all for him. I hope he sees it. I hope he breaks down crying in the bathroom afterward. I hope he, after so many years locked inside himself, hears the promise of more life through the hiss of TV static.

Emily St. James, “I Saw the TV Glow’s Ending Is Full of Hope, If You Want It to Be,” Vulture. June 4, 2024.

[the-clock-of-the-time-dragon]

Ariana Grande said in an interview regarding the loathing era of Glinda and Elphaba's relationship that they are immediately fascinated with each other and part of what makes them initially have a negative reaction is that they both recognize in the other aspects of themselves, and parts they don't yet accept or feel comfortable with. Now, I will be the first to say: that sounds gay af. But in a serious analytical sense: that interpretation by Ariana is incredibly insightful because when you think about it, yeah — Elphaba wants the beauty and popularity that Galinda has (but feels wrong for it because she finds it shallow and dumb and thinks she's above that, so she just suppresses it in the hopes that the Right People will be able to look past her unpopularity and value her for her) and Galinda truly wants not only the intellectual recognition but the peculiar power to say NO to established reality that Elphaba has (but she is constantly being overlooked and prejudged as a shallow airhead, and despite receiving plenty of surface-level attention and affection feels like an outsider: like she's always wearing a mask, never fully connecting with anyone because her truest self is much too ✨🌈Unusually and Exceedingly Peculiar🌈✨ to ever let anybody else witness). They're both the first and only ones to see what the other wanted everyone to see in them, and in the process fall in love both with each other AND with those hidden centers of themselves.

They don't loathe each other — they loathe what the other makes them feel, which is twofold: the ✨🌈Sudden and New🌈✨ feelings, obviously; BUT ALSO some very deep-seated, old feelings that nobody else could (or would) ever confront.

tl;dr: it's the good ol' sapphic experience of "Do I Wanna Be Her or Bang Her?™" — except the "be her" would involve radical self-acceptance (hard pass), and neither of them have figured out that "bang her" is an option yet. Which is what makes their relationship so beautiful: they don't merely complete each other in the "they fit together like puzzle pieces" way — they complete each other in the "they helped each other to fall in love with the parts of themselves they'd spent their whole lives loathing" way. "Handprint on my heart" and all that. The best possible resolution to the "Do I Wanna Be Her or Bang Her?" conundrum: "We're Being Us Together AND We're Banging".

[yumeka-sxf]

A very short new chapter this week but...wow, the preview mentioned that it's about a dream Anya had, but I wasn't expecting baby Anya right off the bat 😭

A couple things we can infer about this short scene with her mother is that 1) they're both wearing what appears to be hospital or another kind of medical facility gowns, which indicates that they were perhaps both at the lab together. Likely her mother was there first for who knows how long, and Anya was born there?

And 2) the emphasis on being able to fly like a butterfly makes me think that they're trapped there. Anya is too young at this point to understand what's happening, but her mother desires that at least Anya is able to "fly away" to a better life someday.

It's hard to tell if Anya has her mind reading ability yet, or if her mother can read minds too. We don't see any of the "sparkles" that are used as a visual cue for when Anya is mind-reading...I feel like we would have seen that in the scene below when she's looking up at her mother before hugging her. But it could just be too short of a scene to say for sure.

Some notes about the Japanese version, @spencer-is-someone and others were wondering if she calls her ママ ("mama") here as opposed to what she calls Yor, はは ("haha"), and yes, she does call her biological mother the actual word "Mama." This is consistent with the Eden interview scene too.

The first panel of the Japanese version also has this extra text on the left that reads "a precious memory from some other time..."

Something that I mentioned in my review of chapter 102 is how Endo hides the faces of certain characters in other characters' flashbacks, such as how Loid's parents' faces are hidden, as is the face of Henry's wife in Martha's flashback. In the same vein, Anya's mother's face is obscured as well.

I interpret this as the characters' suppressing the memory of the character whose face is hidden due to the emotional trauma that character elicits, a trauma that the character having the flashback is trying to overcome, whether they realize it or not. In Anya's case, it could simply be that she doesn't remember her mother's face since she was so young, but regardless, I like that Endo is being consistent with this.

Side note, it seems like the design for Anya's mother is based on Ashe, a character from one of Endo's previous works. Anya's design was based on Ashe as well, so makes sense that her mother would have a stronger resemblance.

Before the chapter ends, we're treated to "soft" Loid with the little sigh he has (the "phew" cloud in the lower right) whenever he's genuinely relaxing around the family 😊

It's interesting how the mind-reading thing from the previous chapters with Melinda is brought up...when Anya asks if Yor can read her mind, Loid looks concerned, but when Yor tells him she only knew about the potato gratin because Anya saw it on TV, he relaxed.

I kinda hope that the Melinda story continues in the next chapter, but it could be paused for now. Likely we'll be moving onto something else next time. Maybe we'll go back to the "Anya reveals her secret to Damian" thing, since school is resuming according to Loid. I am a bit surprised though that this chapter was so short despite not being called a "Short Mission" chapter. Endo could still be trying to catch up after the recent long hiatus he had due to illness. But it's fine, I'm happy with crumbs of Anya's backstory not matter how small! 😅

[incognit0slut]

hii, i love you’re writing and i have a song request idea. the song too sweet by hozier would be so cute it could be angst to smut and it could happen late morning or late at night since the lyrics. idk if it makes sense i just thought it’d be cute 😭. again i love your work sm okay, ty, bye 🫶🏾💖🫶🏾💖🫶🏾

Spencer thinks you’re too sweet for a damaged man like him.

Warnings: (18+) Professor Reid x Student Fem Reader. Age gap (he’s in his 40s or post-prison era, Reader is in her 20s). Angst and smut. 2.8k words A/n: anon I took your request but I changed it a little to how I interpret this song… which means a lot of ANGST💔 I hope you don’t mind

He knew you were here. He always knew. The usual chaotic sprawl of books scattered throughout his apartment seemed to be in order, and there was a comforting scent lingering in the air that unmistakably belonged to you.

Although Spencer could never really put his finger on your scent. Sometimes you exuded a sweet fragrance, like the delicate petals of a flower, while at other times, a crisp, fresh aroma lingered around you, reminiscent of a morning breeze, or perhaps the soft scent of rain. 

But it didn't matter whether you smelled like a garden in full bloom or the crisp air after a rainstorm, the mere proximity to you brought him the peace he was all too familiar with, and that calmness enveloped him as he made his way toward his bedroom.

You looked like an angel. Sweet, calm, serene. His eyes drifted towards your sleeping form, and he couldn't help but wonder how you could sleep so well after the conversation you both shared this morning. The weight of your mutual decision to end things for good hung heavy in the air, yet here you lay, seemingly unaffected.

He watched the gentle rise and fall of your chest, each rhythmic pattern of your breathing seemed to draw him closer. One step, then another, until he found himself standing at the edge of the bed, looking down at you, vulnerable in your sleep. And then, as if pulled by an unseen force, he sank into the space beside you.

The bed dipped beneath his weight, and so did his heart. Spencer knew this wasn't the wisest thing to do. He was supposed to be the responsible one, after all, he was older than you. With age came experience, or so he believed, and he couldn't shake the feeling that he should be the voice of reason.

But as he lay beside you, he couldn't help but question his judgment. Was it truly wisdom that guided him, or was it simply the fear of facing the unknown? Age and maturity seemed like a flimsy construct now, overshadowed by the raw intensity of his emotions. With a heavy sigh, he placed a hand on your waist.

One touch, he told himself, one touch was all he would allow himself.

You felt the warmth of his touch seeping into your skin, grounding you in the present moment. Spencer watched intently, well aware he should have pulled back, yet, despite his better judgment, he found himself unable to let go, his grip on you tightening almost instinctively.

His gaze traced your face in the soft glow of moonlight filtering through the window. Despite the early hour, your features seemed to radiate with a warmth that defied the darkness of the dawn. The lines of worry on your brow softened, your lips curved into a gentle smile, and for a fleeting moment, you appeared to embody the very essence of sunshine itself.

It was a peculiar sight, Spencer thought, considering how the world beyond the window remained shrouded in darkness.

"You're home," you muttered as if the word home was a concept you both shared. Perhaps it had once been true, or perhaps it was a dream that had never quite materialized. He felt a pang in his chest, a bittersweet reminder of what once was, or what could have been.

"You're not supposed to be here," he mumbled softly.

"I was going to give you back your keys, but you weren't here," you confessed. "And I wanted to wait for you."

A small smile tugged at his lips. "So you decided to wait on my bed?"

"It seemed like the most comfortable spot."

"You've always liked my bed."

You shook your head. "It's not the bed, per se. It's the feeling of being close to you..." Your gaze softened as you met his eyes. "Even when you're not here."

Time seemed to stand still as he met your gaze, a rush of emotions swirling beneath the surface. "I'm not here most of the time," he said after a pause.

"I know."

"That's not fair to you."

A heavy silence fell into place.

"I know," you replied quietly.

"And the next time we do see each other," he continued, his tone tinged with resignation, "Is when I'm standing in front of class with you sitting between the seats."

"Spencer, I know," you pressed, your voice barely concealing the ache in your heart. "We went through this conversation this morning."

"Then why are you still here?"

You held his gaze, your eyes reflecting countless emotions—sadness, longing, and perhaps a hint of defiance. "Because," you began softly, "I still can't bring myself to leave."

His heart clenched at your words, the weight of them settling heavily upon him. He had expected defiance, anger, perhaps even resentment, but your quiet admission caught him off guard.

"Why?" he asked.

You looked away. "You know why."

He knew the reasons, of course, he knew them all too well. But hearing them spoken aloud, seeing the pain reflected in your eyes, brought the harsh reality of the situation. He reached out, gently grasping your chin and guiding your gaze back to meet his.

"This is for the best," he replied quietly, though his voice wavered with uncertainty. He knew the words sounded hollow, even to his own ears, but he couldn't bring himself to admit the truth—that perhaps, deep down, he was trying to protect himself as much as he was trying to protect you.

"For me or for you?"

He hesitated, the lump in his throat growing heavier with each passing moment.

"For both of us," he admitted softly.

It was the truth, undeniable and painful. He couldn't deny the impact of your relationship if it continued down its current path. Not only was he much older than you, but he was also supposed to be your mentor, your teacher, your professor.

His role was meant to guide you. He was supposed to impart knowledge, not to engage in illicit affairs behind closed doors. He had allowed himself to become too invested in you, to give you more attention than was appropriate, more than was fair to his other students.

But it wasn't just about him anymore—it was about you. He couldn't bear the thought of tainting your pure, sweet soul with the darkness that came with him. He had done things he wasn't proud of, and made choices that he wished he could undo, and now, as he looked at you, he couldn't help but feel a sense of shame.

You deserved better than to be with someone who carried the weight of his past like a heavy burden.

"So this it?" You asked.

All he could do was nod. A lump formed in your throat as you struggled to hold back the tears threatening to spill over. "Fine. Just..." You paused, taking a shaky breath to steady yourself. "I'll leave as soon as you tell me the truth."

He felt a knot tighten in his chest as he waited for you to continue.

"Tell me you don't love me and I'll leave."

Your words hit him like a punch to the gut, the pain evident in his eyes as he struggled to find the right response. He knew that he had to be honest with you, no matter how difficult it might be.

But as he opened his mouth to speak, the words caught in his throat. How could he deny the truth when every fiber of his being longed for you? How could he let you go when you were the one thing he couldn't bear to lose?

"I..." he began, his voice faltering as he searched for the courage to speak the words you so desperately needed to hear. But no matter how hard he tried, the words refused to come.

"Say it," you urged. "Say you don't love me and I'll leave you for good."

Taking a deep breath, he met your gaze and braced himself for the pain his words would inflict on you.

"I don't love you," he whispered, the words feeling like a betrayal even as they left his lips. It was a lie, and he knew it. And yet, he couldn't find the courage to admit his feelings for you.

The air around you seemed to thicken with tension. He had braced himself for the pain his lie would bring, but nothing could prepare him for the look of hurt and disbelief that crossed your face at his words. You were the one who asked for this, yet hearing him admit to it so easily shattered your heart into pieces.

"You're... you're lying."

Spencer felt a pang of guilt shoot through him at the sight of your pain. He knew that he would regret what he was about to do, but he couldn't stand the thought of you walking away without knowing the truth, without knowing how much he truly cared for you.

So he closed the distance between you, his hand gently cradling the back of your neck. And then, without hesitation, he leaned in and captured your lips in a slow, deliberate kiss. For a moment, you were lost in the sensation, the warmth of his touch, the tenderness of his kiss.

But as quickly as it had begun, it came to an end, leaving you breathless and uncertain. You pulled back and searched his eyes for answers. "You're lying," you repeated.

He sighed heavily, his forehead resting against yours. "I-I don't love you."

Your chest tightened again. How could he say that when his touch was so tender, when his gaze held so much depth? Frustration and hurt boiled over as your nails dug into his skin, gripping his wrist firmly as you held his face close to yours.

"Stop lying to me," you pleaded almost desperately. "Stop fucking lying to yourself."

He closed his eyes. He knew that he couldn't keep lying to you, and yet, the words refused to leave his lips, trapped by the fear of what might happen if he dared to speak them aloud.

"I'm sorry," he whispered, his voice barely audible over the pounding of his heart as he pulled you closer, not knowing what else to do to ease the pain away.

So he kissed you again.

He kissed you as if he was apologizing, each gentle press of his lips against yours a silent plea for forgiveness. He kissed you as if he needed to convey his feelings that he couldn't express with words, his touch speaking volumes where his voice fell short.

He kissed you as if you were everything to him, as if the taste of you was sweeter than any other, as if he couldn't bear the thought of a life without you in it. He kissed you desperately and unapologetically, it was sweet yet painful, tender yet desperate, as if every moment shared between you was both a blessing and a curse.

You could taste the bitterness of goodbye on his lips, yet you couldn't bring yourself to let go, not when his touch still felt like home. So you pushed your tongue into his mouth, savoring the taste of him even as you knew it would only make saying goodbye that much harder.

Your breathing became heavy as you felt his hand glide down from your cheek to your neck. He then pulled away, his lips still tingling from the taste of you as he licked them unconsciously. His gaze followed the movement of his hand as it settled on your breast.

You could feel the tension between you crackling in the air, the desire that pulsed between you almost tangible, as he brushed your nipple over your shirt. A gasp escaped your lips as he continued to tease you, each touch sending jolts of pleasure coursing through your body.

You knew that this wasn't the wisest thing to do. You were both playing with fire and giving in to the temptation could only lead to more heartache. But you couldn't help yourself, not when your body was coming alive with the familiarity of his touch, not when you knew that this might be the last time you could feel him as close.

So when his hand slipped further down, tracing a path over your stomach, past your legs, you let him. The anticipation built within you as his touch hiked up your skirt, your breath catching in your throat. And when the rough pad of his fingers ghosted over the material of your panties, you found yourself instinctively spreading your legs apart, inviting him closer.

As the first electric surge rushes through you, the smallest of breaths escapes your lips, signaling the release of the tension you had been holding in your lungs. Your hands found purchase against his shoulders, nails digging into his t-shirt tightly as you felt him pressing onto your folds.

You both stared at each other, a silent exchange of emotions passing between you. There were so many emotions in his—sadness, frustration, and a burning desire that mirrored your own. And yet, despite the turmoil that raged within him, you found yourself unable to look away, drawn in by the intensity of his gaze.

As his hand worked its magic between your thighs, you felt yourself growing wetter by the minute, desire pooling low in your belly. And then, with a sense of purpose, he pulled his hand away, his fingers deftly finding the band of your panties as he coaxed the thin material down your legs. 

How did he manage to bring himself into this situation again? It was a familiar pattern, one that he had promised himself he would break, and yet, here he was, like a moth to a flame, irresistibly drawn to you.

Or perhaps it was more like you were a precious flower, delicate and beautiful, and he was drawn to you like a bee to nectar, unable to resist the sweet temptation that you offered.

Whatever the reason, he knew that he couldn't stay away from you. With trembling hands, he buried his fingers between your thighs once more, finally touching your bare, slick skin. The slickness of your arousal coated his fingers as he explored every inch of your delicate folds, each movement sending waves of pleasure coursing through your body.

And then, unable to resist any longer, he pressed a single finger inside your entrance, the sensation causing you to gasp in pleasure. He moved slowly at first, savoring the feeling of your tightness enveloping him, before picking up the pace, his movements becoming more urgent and desperate with each passing moment.

"Please," you muttered, gulping and concentrating on the feeling of him slowly pumping his single digit in and out of your tightening, dripping walls. 

But what were you begging for? For him not to stop? Or for him not to let you go? Maybe both, and for now, the only thing he could do was give you the pleasure you so desperately craved.

He could feel the tension building within you, the way your body arched and trembled. And as he continued to pleasure you, he made a silent vow to himself—to give you everything he could at this moment, to make you feel alive and wanted, even if it was just for a fleeting moment.

So he continued to move his finger inside you, and as he felt you drawing closer to the edge, he knew that he couldn't stop now. His thumb found your clit, eliciting a gasp of pleasure from your lips as he applied gentle pressure. Then with a sense of urgency, he plunged another finger deep inside you, stretching you in the most delicious way possible.

Your grip on his shirt tightened, your nails digging into the fabric as you clung to him desperately. "Pl-Please," you begged, heavy eyes searching for his own. "Please don't leave me."

His heart clenched at the raw vulnerability in your voice, the depth of emotion written plainly across your face. He couldn't bear to look at you any further, so he buried his face in the crook of your neck, pressing tender kisses against your skin as his fingers continued their fast-paced rhythm.

"I'm sorry," he whispered, his voice filled with anguish. "I'm so sorry."

His words were barely audible over the sound of your ragged breaths, but you heard him clearly, and a loud moan ripped out of you. This was the cruelest form of rejection; to find pleasure in his touch only to be denied the warmth of his affection. You wanted to push him away, to scream at him for playing with your emotions, for making you believe there was something more. But as his fingers continued their relentless assault on your senses, driving you ever closer to the edge of ecstasy, you found yourself unable to resist.

So you surrendered to him completely, because all that mattered was here and now—the ache between your legs, his lips worshiping your body, and the undeniable connection that bound you together, even as the world threatened to tear you apart.

[genericpuff]

I find something that annoys me is how people misunderstand why Persephone is considered the goddess of spring.

It’s because Demeter makes it spring when she returns. Not because Persephone has some awesome sick flower powers and she makes it all pretty before returning to her 10000/10 husband.

Agreed! But also, if I can offer up my own food for thought / interpretation: Demeter didn't necessarily create 'winter' as we traditionally perceive it, rather she created famine.

In that same sense, Demeter isn't even necessarily "making it Spring" when Persephone returns - she makes the land fertile again, allowing mortals to harvest their crops and thrive. Thus creating the "seasons" of harvest and drought.

Like many of the myths we've preserved and still read today, The Hymn to Demeter was a story created to explain natural phenomena that we didn't yet know how to explain. In Demeter's case, the story of her separation from her daughter explained the cycle of nature - why the clouds would no longer rain, why the ground would dry and crack, why the soil would become brittle, and why the crops would lose their will to live. It wasn't necessarily because she brought about 'winter', it was simply that she stopped performing her own duties, which were specifically dedicated to the harvest, especially that of wheat and grains (both of which are INCREDIBLY important foods that played their own massive role in the evolution of the human race - they weren't only essential to keeping both humans and livestock fed with their carb-heavy components, but could also be used to make fabrics and tools.)

Just as people prayed to Poseidon for safe travels across still waters, so too would people pray to Demeter for a bountiful harvest. Whenever there were droughts, you could understand it as the period when Persephone would return to the Underworld; or you could even blame it on yourself, or even your own fellow mortals, if you felt that perhaps Demeter had been disrespected in some way so as to bring about a drought as punishment.

This is why The Hymn to Demeter also functions as a foundational story for the founding of The Eleusinian Mysteries - a cult that worshipped Demeter, and other deities attributed to the harvest (ex. Dionysus) whose initiates were sworn to secrecy, never to speak aloud what practices were happening within the cult. And they did a damn good job of it too, because to this day we still don't fully know what went down in those cults. They're mysteries, after all :')

Demeter wasn't the only god who was attributed to the harvest and the weather patterns that would cause drought, but she's certainly one of the most popularly discussed, undoubtedly due to the fact that her story is one of the oldest and most well-preserved, and she was attributed to some of the most essential crops of that era.

But as it would happen to many myths over the centuries, the exact cultural contexts and intentions behind her original story have become either lost, or re-interpreted so many times that we can't even fully trust that Homer's version is "accurate", at least not without any way to retrieve those original oral stories that predated both him and other famous poets whose work we still study and analyze today.

But hey, that's just my own interpretation! One out of the thousands that have existed and the thousands that will undoubtedly go on to exist. I'm sure my own interpretation of it isn't perfect or foolproof, but I hope it offers up some fun food for thought!

[demonslayerunhinged]

*cw: this theory deals with child sexual abuse and has mentions of suicidal ideation and eating disorders.

*If you or anyone you know is going through this, you can find resources here, here and here as well as a list of international hotlines.

Obanai is probably the second most hated character in the fandom, and just like Sanemi, he’s one of the most misunderstood. I think the hate he gets from the fandom is unwarranted; he’s accused of being a dick, a horrible person, a simp and a character who only exists to be Mitsuri’s love interest. All of which is unfair, sure he’s prickly and unapproachable, but he’s not as bad as the fandom makes him out to be.

So, in my quest to draft a defense for our favorite snek boy, I reread his backstory and in doing so, I realized something sad

Unhinged theory

Obanai is a sexual abuse survivor

Let me explain:

Obanai’s backstory and aspects of his character mirrors that of someone who’s been through sexual trauma. The evidence I'm going to present is a combination of my own knowledge about these matters and information I got from forums and websites for male survivors of sexual abuse. So let's examine them...um spoilers

The snake demon

I believe that the snake demon is a metaphor for a sexual predator. Her inclusion in the family could also be a metaphor for how these predators insert themselves into family units-or most of the time are family members themselves-and abuse the children for years and even generations. Obanai's relatives sacrificing their babies to her could signify the real life actions of families who are unaware or, turn a blind eye to, or sometimes actively participate in the abuse of their children.

The sacrifice in exchange for wealth speaks of how families in real life ignore the abuse of their children to maintain the wealth and status they obtain from being related to and associated with the abuser.

Even her decision to wait, ordering the cutting of his mouth so he would look like her, could be interpreted as her 'grooming' him in a sense.

Even her design has a certain sexual, predatory aspect to it that's different from the other demons.

His relatives

Obanai describes his family members as being 'disgustingly' affectionate and bringing him lots of 'greasy' food that made him sick. Food in media is often used to depict love, affection, connection and sex, and Demon Slayer is no different.

There are plenty of instances where food and the giving of food has been used to denote friendship (Tanjiro giving Zenitsu, Inosuke and Genya meals in an attempt to bond with them), connection (Giyuu wanting to give Sanemi ohagi), love (Tanjiro's love of cooking and the satisfaction he shows when his meals are enjoyed by others) and pleasure (Mitsuri's large appetite). I'll make a post about this later.

With this context, we can interpret their bringing of rich foods, their overbearing attention and affections as them objectifying and even being sexually inappropriate with him.

The sexual abuse

Non-physical.

The first instance of abuse is non-physical, but that doesn't make it any less important. Being constantly visited by the snake demon in his room at night, Obanai described his feelings of terror, being paralyzed and watched. His body would break out in a sweat, and he would be unable to fall asleep.

His descriptions of the experience and his body's reaction to it reminded me of some survivors' stories I read, where they talked about how in the initial stages of the abuse or when the abuser was first introduced into their lives, their abuser would give them unwanted attention, would stare at them in a way that felt creepy, gross and wrong.

Some had their abusers come in to their rooms, maybe under the guise of 'checking in on them'. They described feeling terrified, freezing up with the hopes that the attacker would leave. Some would take measures such as sleeping with the door locked or with a heavy object against it, sleeping with a sibling or parent, sleeping in a hiding spot that the attacker knows nothing about or not sleeping at all.

Physical.

The specific age that the snake demon plans to 'eat' Obanai is never stated, but from what we've seen so far and in the sexual context, we can assume that she's waiting until he hits puberty. Some studies state that the average age of victims of female sex offenders usually falls around 14 years, but there are cases where the female predator waited until their victim reached sexual maturity before they carried out their abuse, like in the case of Mary Kay Letourneau. Here's a video that breaks down an interview she did before her death.

Obanai was 12 when he was dragged out of his cell to be subjected to what I believe is the first physical abuse. He had his mouth slit from ear to ear, with the blood collected and fed to her. The snake demon decided to have him live a little longer, which again, fits into my theory of her wanting to wait until he reached puberty.

Bodily violation, violence and blood are common allegories for sexual assault used in media and in Obanai's backstory we see it being used when his relatives drag him from his cell, literally pin him down, cut his mouth and feed his blood to the snake demon. The act of feeding on his blood could also be a metaphor for the snake demon sexually abusing him.

His escape and the resulting fallout

Obanai managed to escape, and although he was tracked down by the snake demon, he was saved by Shinjuro Kengoku before she could kill him. His cousin's response was to blame him for all that happened, asked why he ran away, and said that he should have 'allowed' the demon to eat him.

This could represent how some victims are rejected, ostracized and criticized for speaking out against their attacker, exposing the abuse to the public and getting help. Their families would say 'you should have just let it happen', 'you destroyed the family', 'why did you run away, tell people?' and place the blame on the victim.

Obanai's reaction

There are three aspects of his characterization that are similar to the common reactions noticed in adult survivors of sexual assault, especially male survivors.

His appearance.

His behavior.

His beliefs.

His appearance

Obanai has a small frame that he hides with his baggy uniform and haori. I can tell it's baggy compared to that of the other slayers because of the width of his pants vs the width of his lower legs. Desexualization or hypo-sexualization is a common response among some survivors of sexual trauma, this usually involves wearing clothes and taking measures to make themselves look 'unattractive'.

'But this side feels more comfortable for me, like the baggy clothes I wear, which hide my body, and the long sleeves which reach past my wrists. I promised myself no man would ever touch me again, and whether it was a moment of triumph, or a moment of defeat, I still don't know.'

'I'm thin, shy. I seem easy to dominate. I've grown a beard. That's helped a little. I dress in baggy clothes, covering as much of my skin as possible. That makes me feel safe.'

This not only helps regain a sense of control and power over their body but also serves as a protective measure against sexual advances so they don't get abused again.

In Obanai, given his history of receiving unwanted, suffocating and 'disgusting' attention from his female relatives, it would make sense that he would want to dress in a way that makes him unapproachable and hides his body from the opposite sex. We can see his attempts to desexualize himself in the picture below:

His behavior

'Iguro has difficulty with girls. Due to his experiences growing up, he was unable to conquer his fear and animosity. Plus, the firls who joined the Demon Slayer Corps often put on brave faces because of their sad backgrounds, so he felt sorry for them, making him uncomfortable in a different way.' - Taisho Whispers, official English translation.

'Iguro-san isn't good with women. Due to his upbringing he has a fear and disgust towards women. (I couldn't overcome it easily. The women who joined the Demon Slayer Corps have painful stories of determination. I felt sorry for them and I didn't get along with them in a way that was different from the way I got along with my family)' - Taisho Whispers, direct-sort-of-shitty translation via Google Translate.

Male survivors who were victims of childhood abuse by female perpetrators often talk about how the abuse greatly affected their relationships with women or lack thereof. Some going so far as to say that they became afraid of women, being around them and how sometimes being touched by women would trigger panic attacks and remind them of the trauma.

Here are some quotes posted in a thread on the Male Survivor forum. Full thread here.

'Once that happened, my genophobia became more intense. I couldn't ware short trousers in summer, could never go swimming, got paranoid if I touched a woman's arm or even brushed against one, would always stand at a distance from female friends, and would literally leave the room if anything explicit was discussed.'

'I have started to have strange, deep discomforting feelings as I remember some of the assaults and I have gotten to a place where touch from a woman makes my hair stand up, makes me nauseous, and gives me chills and feelings of dread.'

Obanai has similar responses when he finds himself in proximity to women. We're only told about it in the main manga, but it's shown in the Gakuen. I know the Gakuen takes place in an alternate universe, but aside from the events, the behaviors of the characters are based on their actual personalities in the main manga, so we can safely say the reactions he displays in the Gakuen is canon to his character.

His beliefs

Adult survivors of sexual abuse often struggle with feelings of guilt, rage, and shame. In the manga, Obanai talks about being held back by the decaying hands of his family members, which could represent the long-lasting effects of sexual abuse and how some survivors carry these burdens all through adulthood or throughout their lives.

There's also the thoughts about himself that echo the heartbreaking thoughts shared by some male survivors.

Guilt:

"As the member of a filthy family, I too was corrupt. My sins were deep, so I could not live a normal life"

Rage:

"With no other outlet, I turned all my rage on demons in a grudge of intense hatred. By risking my life for others, I felt as if I could in some way become a slightly better person."

Shame:

"Unless I die and come back in a different body in which this filthy blood does not flow, I have no right to be with you."

Suicidal ideation(mild):

"By risking my life for others, I felt as if I could in some way become a slightly better person."

"I want to die defeating Muzan." (He's the only character that I know of that outright says this.)

He also kind-of expresses his feelings of being weak during the fight with Muzan:

"I've accomplished less in this battle than anyone! I wish I could deliver a more effective attack."

While this quote isn't exactly definite, a feeling of being weak, or being 'less of a man' is also a common experience shared by male sexual assault survivors.

The scar and It's symbolism

The scar is a physical manifestation of the lifelong effect that sexual abuse has on its victims and the stigma it carries. For Obanai, it's not just a painful reminder of the trauma he suffered at the hands of his family, but also a reminder to him that he's like his attacker, the snake demon. The bandages he wraps around his mouth symbolizes not just his attempts to hide his trauma, but also his inability to talk about it due to shame and fear, which is unfortunately an all too common experience of male survivors.

Another struggle survivors often experience is with intimacy, romantic relationships and sex. For Obanai, I believe that this struggle is represented by his eating disorder. The link between food and sex is a well established belief in many cultures, people with large appetites can be seen as having equally high sex drives while people with small appetites have little or no sex drive.

As he grows older, his little appetite is basically him curbing his growing sexual desire, which he sees as ugly, like the scar on his mouth. But the thing is Obanai wants love, he wants to love and be loved, to be intimate with another person, but he feels he doesn't deserve it, after all he's filthy, shameful and probably a predator just like the snake demon. So he starves himself, suffering in silence with the belief that he was disgusting, that no one would ever love him, that he was destined to and deserved to be alone.

Then he met Mitsuri.

In Conclusion, Obanai is way more complex than the KnY fandom gives him credit for. This is a man that went through immense suffering, and it's really sad to see people hate on him because he isn't 'nice'.

Well, that's just how life is. Trauma doesn't exactly make nice people. We can't all be like Giyuu or Tanjiro(bestest boy ❤), a lot of us are like Obanai, Sanemi, and even Shinobu, a lot of us are angry, and why shouldn't we be?

...

*Phew, ok so this one has been in the drafts for a while because I was scared to post such a dark subject matter and also I needed to be really sure I wasn't just talking out of my ass but after rereading his backstory and analyzing aspects of his character, I'm more confident about this.