#i love it when they are characterised like this because it’s actually so real

[seiwas]

I reached fuxkinf 30 tags 😭

the way he’s shaking oh my god kit he’s so nervous i actually feel like crying just — that whole interaction, the laugh, the tears; everything is so vividly thick with emotion oh my GOD

And he cracks a small smile thinking he might cry too?! OH baby i am 😭😭 then he fucking says it ‘you told me to do it scared’ GOOOOOD KIT THAT FUXKING CALLBACK 😭😭 WHAT IT MEANS 😭😭 how he’s listened to you all this time, how he’s carried that lesson with him for YEARS 😭😭

So he’s asking u to marry him scared. That you’d say no. That he’s stutterz godgodgodgodgod *head in hands*

and when reader asks have you asked me ? And he’s like, he was gonna have a speech THEN GETS CHOKED UP ABT IT ARE U SRS RN I THINK IM IN LOVE W HIM 😭😭😭😭 and he’s like ‘maybe ill have to save it for later’ oh GOOOD he rlly would do that. I think he’s just so the type to prepare these things and have it all he thrown to the side in the last minute 😭

And its so real so true. You not needing anything else but just him asking it. To hear him say it. Ih god the devotion

And and and an ddint even get me started when he takes your hand, still shaky, runs his thumb across ur ring finger 🥺 dont eeeeven get me started there ill cry aksmdkdnn and he says ‘ok ill do it’ oh my fod biggest dork ever i love him

GET ON WITH IT HAJIME 😭😭😭😭

Then he kisses where the ring would be 😭🥺😭😭 then looks up at you even while youre scared 😭😭😭 will you marry me murmured into your knuckles oh my god ig my gohs skisbssinsiensincjrnd im gonna pass oUTTTG

Holding himself uprigjt to kiss u properly? Oh i would rusjsjdjdjdjdndn

And their banTER AFTER. How he places the rinf on you. THE BAAAANTERRRRR

His eyes are so soft that you knkw theyre for you <- ARE U KIDDING ME RN . RU FUCKING KIDDING ME RN 😭😭😭😭😭😭😭😭😭😭 im waging wars for him . Flinging myself across the ocean

KIIIIIT I LOVED THIS SO MICH as you can tell lol im barely coherent but like . I loved this so much i have no words

you told me to do it scared

Iwaizumi was sixteen when he lost all of his fear.

He doesn’t really remember exactly what it was that the two of you were talking about, or when, but he remembers how his voice echoed in the alleyway home — the shortcut, he called it.

Iwaizumi remembers rambling and he remembers that you let him; you were never one to cut him off. He was a good listener, as it could be especially hard to get a word in around people like his group of friends, but you?

Around you? He couldn’t shut up.

He was rambling on and on about something — he forgets what, but it was big for his sixteen-year-old self. Nerve-wracking.

“Are you done?” he remembers you asking, side-eyeing him as you walked.

“Uh, yeah. I’m done.”

“Great. What are you even worried about, Hajime?”

(He still doesn’t know what. It turns out that you were right, and it was so insignificant that he can’t even remember what was bothering him to this day.)

“I don’t know. Rejection. Failure—“

“Oh, please,” you scoffed. “Yes, because Hajime Iwaizumi is known for failing.”

He furrowed his brows. “Don’t be mad that I’m nervous.”

“Scared, Haji.”

“I’m not—“

(You gave him a look and he shut his mouth.)

“So what?” he asked then, dropping his hands in his pockets. You never really knew why he was so good with you, why he talked so much — you never dared question it. “How do I get over it and just do it?”

You smile, shaking your head.

“You don’t get over it. You do it scared.”

“What?”

“Fake it ‘til ya make it, Haji.”

(Iwaizumi doesn’t remember what he did, but he knows he did it terrified; he did it well, too. Passed the test, won the game, cleared the hurdle, got the job. Whatever it was.)

Iwaizumi was sixteen when he lost all of his fear. He’s twenty-eight when it all comes crawling back.

By now, he’s more than a decade older with a bunch of fearlessness under his belt, from spiders put back outside to funny noises in the yard. He’s carding his fingers through your hair on the couch you both picked out, and he hasn’t been this scared in a really, really long time.

(Probably not since you told him that he just needed to do it.)

Iwaizumi is scared because, for the first time in the three months he’s been carrying your ring in his pocket, he really wants to fucking give it to you.

He’s always wanted to — no shit, it’s why he bought it — but tonight is the first time he wants to ask you. He doesn’t just want to picture it on your finger, he wants to feel it against his hand when he holds yours.

The same movie you’ve seen four times plays on the TV. You’re leaned right against him; your eyes are heavy, you’ve yawned a few times.

Half of him wants to do it, half of him knows it’s late.

It’s just — it’s you in his shirt, in his sweatpants, in his arms. He has been yours for way too long to not have done this sooner, but neither of you have ever been in a rush to do anything.

Until now, half past midnight on your long weekend and all he wants to do is plan a wedding.

Iwaizumi can’t even sit in his imagination for long, because soon enough you’re sitting up with a look of confusion and you’re lifting his hoodie up, putting a hand over his heart.

“What?” he says, half a breath and half a laugh.

You look … concerned. He can’t tell whether he thinks it’s cute or distressing. “You don’t feel that?”

“Feel what?”

“Hajime, your heart is racing.”

“Is it?” he asks. He sets his hand beside yours. “Nope, don’t feel it.”

You roll your eyes, yanking his sweater back down as you sit at his side. “Well, something is making you two steps away from arresting right here. Spill before I call an ambulance.”

“It’s nothing, seriously. Watch the movie, will you?”

“But I’m nosy, damnit. Don’t you know me at all?”

God, so fucking well. Somehow, not well enough. Tell me more. Tell me everything I already know.

“It’s nothing!”

“Hajime,” you say, and finally your voice is stern. “Whatever you want to say, you know I could never be mad at you for it.”

Iwaizumi takes a deep breath. The box in his pocket feels like it’s made of fucking lead.

“I—“

“Stop. It.”

(He does. He stands up instead.)

“Okay, wait,” you start again, “I didn’t mean leave.”

“Give me a second, damn,” he groans, dusting off his pants, checking it’s still there. Of course it’s still there, but if it wasn’t, this would be bad.

Iwaizumi knows you deserve a thousand flowers and a candle-lit beach, and maybe he’ll give you both. But he’s neck-deep and the water is rising; it’s now or within the next hour, really.

“Hey, are you alright? You’re pale,”

“I’m fine,” he reassures you. Iwaizumi kneels in front of the couch.

“Hajime,” you say again, face contorted in worry. “Seriously, are you—?”

You don’t just trail off, you jump off the road.

In one of his hands is a box. A small one, fitting for a ring. His other hand rests on your knee.

“Are you—“

“—dead serious? Yeah,” he says, sounding way less strong than he looks. “I am.”

He opens the little box, showing you what’s inside. It’s in your colour, a pretty diamond glistening beneath the warm light of your table lamp and the movie. You swear you even mentioned that shape once, probably years ago.

“No,”

“Yeah,” he says, “yes.”

“Are you serious?” you whisper, feeling your tears jerk to the surface, rimming your eyes. You rest a hand on his.

He’s shaking.

“Hajime,” you laugh, wiping a hand under your eye. “You’re shaking.”

He sighs.

“I know,” he nods. Iwaizumi cracks a small smile — he thinks he might cry, too. “You told me to do it scared.”

Your brows furrow and unfurrow in the matter of a few seconds. Yeah, you did say that.

(You were sixteen and talking about less major things, but you did say that.)

“So I’m doing it,” he finishes. “Scared.”

“Scared of what?”

He shrugs. “That I’d stutter when I ask you to marry me. Or that you’d say no.”

You smile. “Have you asked me?”

“Not yet. I was gonna make a speech, but I,” he slows. He stops — he has to, he’s getting choked up. “I might have to save it for later.”

“I don’t want a speech, I wanna hear you say it.”

“Yeah?”

“Yeah.”

“Okay,” he says. Iwaizumi takes your hand in his shaking hold, his thumb swiping over the top of your ring finger. “I’m gonna do it now.”

“Get on with it, Hajime.”

You’re unmistakably excited.

Iwaizumi kisses where the ring will be if you tell him yes. Scared and all, he looks up at you.

(He speaks the words you’ve been waiting for into your skin. Will you marry me? murmured into your knuckles.

You don’t even tell him yes. Not coherently, anyway.)

You throw yourself into his chest and he has to hold himself up against the coffee table behind him to kiss you upright.

“Yes,” you answer again, over and over. “Even if you were scared to ask.”

“It just means I love you, doesn’t it?” he murmurs, taking your hand and moving it back in front of him. He slips your ring onto your finger. “Just scared on the off chance you were gonna spit in my face—“

“Shut up,”

“Hey, don’t talk to your fiancé like that.” Iwaizumi hesitates, looking up from the ring to your face. His eyes are so soft that you know they’re for you. “That has a ring to it, doesn’t it?”

“Fiancé,” you repeat. Husband to be.

“Yeah. That does sound pretty good, doesn’t it?”

“Just imagine how I think fiancée sounds, honey.”

“And look — you didn’t even stutter.”

“Oh, come o—“

“Careful what you say, now. Happy fiancée, happy life, Hajime.”

“I don’t think that’s the saying, but okay.”

note; tagging @shotorus because this is your man :3 happy late birthday sel!

[jytan2018]

I read the comic in one sitting less than an hour after finishing the movie, and wow I have many Thoughts™.

- It's very obvious the two versions were meant to cater to different audiences AND tell different messages. I don't get why people are going "But the comic was better! It had more nuance!" just because Nimona was easier to root for in the movie.

- The comic was written back when ND Stevenson was still trying to process a lot of stuff, so all the characters are morally grey/straight up evil and the climactic battle is between a Ballister who regrets turning against Nimona, even if it was to save others vs. a Nimona who's too hurt to care if her lashing out was going to hurt innocent people.

- By the time Nimona got a movie adaptation, ND was a lot more secure in his sexuality, so the climactic battle was Nimona vs. the Director, the symbol of religious oppression and bigotry. It's not just about your friends turning on you because you're "too much" for them anymore, it's also about a society that would rather bring itself to the brink of ruin than coexist with you.

- (I totally get why people were upset about Ballister's surname change, though. Like come on, the media dubbing him Blackheart just to be mean was RIGHT THERE).

- Nimona's metaphor for not shifting is such a neurodivergent thing. Even in the comic, Nimona's parents insisting she's a monster who replaced their daughter is reminiscent of the changeling myth, which is what many parents thought their neurodivergent kids were—changelings who replaced their "real" children.

- Ambrosius being trained to cut off HIS BOYFRIEND'S WHOLE FUCKING ARM instead of merely disarming him is a very cop thing to do. As much as cops claim they're trained to de-escalate situations, their training still teaches them to treat everyone as a potential threat, and that level of constant vigilance can turn anyone into a trigger-happy/arm-choppy bastard. Even the Director, who can use a sword but probably hasn't actually fought someone in ages, STILL can't see Ballister reaching for the squire's phone without assuming he has a weapon.

- And on that note, the Queen getting killed simply because she was trying to reform the Institution and allow commoners to become knights? That's the best "no such thing as a good cop" metaphor I've seen. Because even if there ARE good cops and they ARE in leadership positions, the system will crush them before they make any meaningful change. It's not a good institution that turned rotten, it's an institution that only exists to spread its rot and refuses to be good.

- That's why Ballister's characterisation is so different in the movie vs. the comic. Comic Ballister had 15 years to come to terms with his trauma and the Institution's evildoing, while Movie Ballister is still freshly traumatised and hasn't found a way to define himself beyond the role he was assigned by the Institution.

- Not to mention Comic Ambrosius was not very noble to begin with and genuinely believed Ballister was better suited to villainy than heroism, while Movie Ambrosius never wanted the glory that came with his lineage in the first place and only antagonised Ballister because of indoctrination he needed to unlearn (which he did, all by himself, after witnessing the lengths the Director will go to just to kill Nimona).

- It really shows how important it is to surround yourself with loved ones who are open to change. Comic Ambrosius can love Ballister all he wants, but he'll still blast his arm off because he thinks Ballister deserved it anyway. Movie Ambrosius will stop to question what "the right thing" even means, even if he didn't love Ballister enough to defend him unconditionally.

I have so many more thoughts bubbling beneath the surface, but I'll probably address them some other day. In conclusion:

[ID: A pink-haired Nimona grinning evilly while holding up a knife.]

Watch Nimona. This is not a request.

Edit: Added more thoughts!

[foxmulderautism]

instagram recommending me a reel for a peach frosé recipe what the fuck literally most felixcore cocktail of all time. literally just frozen peaches and rosé blended together. me when i said i'd be productive but now i'm falling down a peach flavoured cocktail rabbit hole

[leefail]

This is just a mini info dump from an Arab batfamily fan because I find Damian calling his siblings Akhi... adorable (for me as a native speaker watching a writer use Arab words) and, not painful, just... itchy, it URGES me to make a pptx with 300 slides and just? Talk about Arabic?

So... أخي, Akhi, Brother.

It's not incorrect. The word is used in the right place and delivers its intended meaning. Other Arab speakers might not find a problem with it. They'd feel odd like I did but will likely go "eh" and carry on. But I'm an Arabic enthusiast, so...

Like with every language with geographically widespread users, the Arabic tongue kind of- deviated from its roots. The language has naturally branched out into so many dialects I myself can't keep track of.

Arabs from different regions can understand each other. They use the same words but for different purposes and with different pronunciations.

The original root language that holds them all (Quranic Arabic) was simplified into an easier, standard version that is used for formal speeches and as a communication bridge (seeing that you can't, say, translate something to Arabic and say it's for all Arabs if you use a certain dialect. Because an Arabic dialect is an identity at this point, tell me somebody is Syrian, and I know them already)

Now, with the fun part.

See, no Arab calls any sibling of theirs Akhi, I myself would burst laughing if mine did.

Yakhoi يَخوي (nonstandard, everyday Arabic for o, brother) , maybe, if I'm calling a stranger from the streets or an offender I'm going to give a piece of my mind.

Or, hold your breaths, my brother is crying, and the lights are out and I NEED to use the tenderest, most loving, most adoring, most revering tone I could muster so he just knows he is loved and family. Y'know? This specific situation.

And other Arabs might just say, no, I use it when, I use it when, I don't use it, etc.

The point is, nobody will mention Akhi. Because it's a Standard Arabic word, a formal word, and a word used in translated texts and stories when a foreign character we don't consider part of us call their brother. It's weird, it's devoid of emotions, and it's like watching a robot trying to be emotional, but it's a translated text. That's what translated texts use, and it's fine.

It is fine, Standard Arabic has been used for stories so much that nobody questions its influence on a character's characterisation.

I'm not saying Standard Arabic shouldn't be used for story writing, quite the opposite, in fact. I'm just saying that if Arabic is used to represent an Arab, its usage should also consider an everyday Arab experience and manners.

Now to Damian.

Akhi is robotic. Damian's personality does allow him to fall under that category. If for his well refined manners and polite, formal speech.

But even the King wouldn't call his brother Akhi.

He'd call him by his name. For my community (and most, I'm sure) siblings are called by their names, and if we look up historic Quranic (Root) Arabic speakers, they, too, call their siblings by their name. Yes, even the Sultan.

If not by actual name, then either endearing or demeaning names.

Arabs LOVE endearing names, but they're dipped in a pool of honey I don't think Damian would like to dive in.

Talia, on the other hand, would most certainly call Damian Mama. Arab parents call their kids by their own titles. It's the ultimate expression of parental love of all times, in my opinion.

(Don't make Batman call him Papa, though. Pretty sure Damian would malfunction)

-

Well, I said all that, but watching writers include Arabic words in his vocabulary is still sweet. Tt is not even a word, but it's such an Arab thing it's my favourite.

If only I could make subtitles of everyday Arab talk and show you, their speech is heavy with, excuse my English, word softeners, it's like they're talking in a TV drama and not the real world.

Watching Damian adopting it would be interesting :D

[emptyjunior]

Can I say how much I love how Ouran High School handles the rich boy/poor girl in love trope. 

Like I absolutely believe it’s discussions about classism and elitism to this Day still hold up! 

I will admit there is so much weird stuff in ouran😭, but we see the Handsome ‘Unlimited Money’ Male Lead a LOT in anime and I feel ouran gets a lot of points of the characterisation SO right, that a lot of other shows just don’t! 

Ouran does the whole love story/harem/all the boys want brown hair girl that we project on, trope. Like they do that, but they show that at the foundation, the root of all of it, those rich boys are JEALOUS. They aren’t approaching Haruhi with the need to protect and own her, at their core the rich are envious of her! Even though they have everything, they want what she has! 

Like we see in the real world with how the rich cosplay as poor! And say "ohhhh I'm so broke please venmo me for lunch" and wear their ripped jeans and strained sweaters and take pictures at the met gala with a box of McDonalds fries in their hand. 

The classist comments made towards Haruhi ARE comedic relief, but the joke isn’t on characters like Haruhi, the joke is on THEM. 

They are the ones who can’t do anything! They are the ones who are stilted and emotionally closed off! They are the ones who can’t make an instant coffee or go to a mall without help! 

THAT is why Haruhi is the center of this harem, why she is the one they’re chasing. They are jealous of her insight and world experience from living independently, from living a REAL life. That is her enviable trait. Haruhi GETS people! And they don’t. Their wealth has isolated them and now there is a barrier between these characters and the rest of the world and they have no idea how to navigate it. 

And this is the foundation of 90% of the problems/conflict in the show! 

The holiday ep when Hikaru has feelings because Haruhi reconnects with Nice Guy Arai? Hikaru says he doesn’t like this guy for all these reasons and most of them are like ‘he’s just some nobody from nothing who only knows Haruhi cause they went to some stupid public school together’. Like okay? Haruhi has all of those ‘bad traits’ as well but you still seem to like her?  

Because it’s not about that, it’s never about that, it’s not even about the love rival/romance angle (at least not completely).  

Hikaru is scared and embarrassed! He already was when they got there, when these rich boys crashed Haruhi’s summer to find out she is an employee here and she is working with her own two hands. This is not a break for her! And then he’s so worried when Haruhi and Arai find each other because what they have is so untouchable to him. Same background, same class, they can meet each other’s needs! And know the other's needs! And this is a chasm that Hikaru has no idea how to cross so he starts lashing out. 

And that episode concludes with Hikaru being told about Haruhi’s fear of thunderstorms, finally actually listening and empathizing with what that means, and then going to her and giving her the stuff she needs to deal with that problem (blanket, headphones, support, protection etc.). 

He has to LEARN that none of those poor people inherently know all this secret knowledge! They just care and ask each other stuff! You can ask Haruhi what she's afraid of and then help her with that! It was always this simple! Just because you’re not the same class as her and knowing her isn’t as easy as it is with people the same as you, doesn’t mean you’ll never know! Learn! Listen! Keep trying! 

Ouran shows their rich characters being hurt by their wealth. Their elitists mindset does NOT benefit them and they’re only narratively rewarded when they break out of it, THAT’S why the arcs are so good. 

(And also while we’re here, I LOVE when they do eps that show Tamaki’s character is actually a parallel of Haruhi’s. Tamaki grew up as an illegitimate child, hidden away in France with his mother. He knows what it is to not be at the top of the food chain, and he learns the skills to keep living! Tamaki is a survivor in a world run by a man who was ashamed of him and did not want him. That can destroy a child, but Tamaki doesn’t let it. He learns how to work people and he learns that belief in yourself is the most powerful asset someone can have. And this is the life experience he imparts onto Kyoya and this SAVES Kyoya, who was barreling towards a black pit of despair and chasing his father’s shadow. The ‘poor’ characters of this show have power that the rich people desperately desire, and in the end they learn that it’s not something you take it’s something you build for yourself.) 

[adventures-in-mangaland]

Dead Boy Detectives: Fic Recs

My latest hyperfixation is Dead Boy Detectives, so oc I've been reading and commenting on a ton of fic. And it's been really nice because the response of the authors has been so warm. I don't think I've ever gotten so many replies so quickly! Also, the fandom has inspired me to actually start writing again for the first time in two years and I've got a great idea for a fanvid. (Any tips on how to make one would be appreciated! 😅)

So in tribute to the lovely fandom, here's a fic rec post (nearly all payneland):

in this city there's a thousand things I want to say to you by laiqualaurelote

Edwin has a sexual awakening and it blows Charles' mind. And other things. Very funny and well written. Also features minor Edwin/Cat King and Edwardian flirting.

I also highly recommend the saviour of the broken, the beaten, and the damned by the same author, which is a kind of multiverse!Edwin fic? Featuring Edwin dying? And Niko time travelling? Trying to save time? Anyway, interesting to see Edwin alive, ageing and in different periods of time/his life.

For the First Time Twice by LikeMmmCookies

Amnesia fic! Charles loses his memories and thinks he and Edwin are married. Very cute (tandem bike date!) and well written, though Edwin's point of view still manages to be angsty. Also, the yearning is off the charts and the most recent chapter turned up the heat.

I guess you're stuck with me by Punny_Puck

AU in which Edwin and Charles actually got married pre-show. Funny, cute with a sweet marriage proposal prequel. Instant comfort fic.

Dance the Night by Gruoch

The gang are hunting an energy-sucking vampire that targets beautiful people, so naturally Edwin MUST disguise himself as the hottest girl in London. This one starts out fun and campy then takes a hard left turn into Serious Business. Prepare yourself for emotional moments, worldbuilding and some really excellent horror.

Long Past Time by sanctuary_for_all

Charles proposes to Edwin post canon. It's a short and sweet established relationship fic with some cool worldbuilding about ghosts and their ability to shape their clothing/appearances.

lay my hands on heaven by Opossum_Subatomic

I had to include a PWP and this is a great one. Extremely well written, in character and romantic. And explicit, obviously.

Data Points by Asidian

Edwin learns to cuddle. It's a production and completely adorable. I love a fic that explores the difference between the boys' physicality and this one's really on point. The writing and characterisation are great and it's nice to see Edwin taking care of Charles.

I also recommend Lanterns In the Dark, which sets the scene for Charles and Edwin's first meeting with some gut-wrenching details about Charles' homelife and Edwin's escape from Hell.

When I Was a Young Boy by flowerbritts

A Good Omens crossover and AU in which Aziraphale is Edwin's adopted father. Family reunions and revelations abound. Also, Edwin gets to be a teenager and slam doors while shouting, as he deserves.

The author has also written Wait, I'm Coming Too, which is a very sweet post canon 'Charles Worries About Edwin and Realises His Feelings' fic inspired by that 'Edwin reading Heartstopper' fanart. Both fics deserve more love!

A Slight Miscalculation by kantigone

Idiots in Love and Didn't Know They Were Dating. Crystal and Niko are the real MVPs, for real. A treat.

Terrible at Keeping Secrets (5+1) by ASingularSadSoggyPringle

Interesting demon!Edwin AU. Charles is a precious cupcake in this fic and Edwin is mostly the same with some Darker moments. I loved the concept and the author adds in some great, creepy details.

somaesthesia by perexcri

Edwin's journey from being touch-averse to touch-starved... at least when it comes to Charles. Palmistry is involved. I loved Edwin's characterisation and the unresolved sexual/romantic tension was on point.

And possibly I like the thrill (of under me you quite so new) by Leandra

Edwin explores his sexuality and re-negotiates his relationship with Charles. Meanwhile, the gang take on the case of a ghost who wants them to matchmake his still-living lover. Crosses over with The Sandman. And Edwin gets to be confident and flirty as a treat.

Always by How You Doing (FancyMeetingYouHere)

Hurt/Comfort fic in which Edwin has a traumatic flashback to the doll-head demon spider and Charles looks after him. Charles reading Good Omens to Edwin is a nice, meta touch.

Made You Look by Baby_Spinach

The agency are hunting an incubus that decides to take on Edwin's appearance. A repression explosion ensues. Fun fic.

Shape Me by dearheartdont

This one's actually a character study of Charles and his mixed race Indian heritage (so no Edwin) and it's so well done. It's also part of a series in progress about Charles growing up in the 80s with all the racism and homophobia that that entails. I look forward to seeing where it goes.

The Most Tender Place In My Heart by coloursflyaway

Edwin shares memories of how he fell in love with Charles, who figures out his own feelings in the process. It's super sweet and involves fun pre-show flashbacks and defintely deserves more attention!

I also loved Won't Fear Love by the same author, in which Charles takes Edwin out on dates and breaks the cuteness scales. And shout out to Good Enough which is the first fic I bookmarked for this fandom! 🥳

Anyway, thank you to all these amazing writers for making this fandom so special! 🥰

[always-just-red]

hello hi! ik the fandom mostly favors interactions between LIs & MCs/Readers but i was wondering if you have your own ideas between the LADS boys like friendship headcanons between them? how their dynamic works and which would be the best bros with each other or strongest siblings rivalry vibes between them (⁠ ⁠╹⁠▽⁠╹⁠ ⁠)

hopefully this is alright to request! 🙏🏻

Hi!! That's totally alright, I've seen so many good takes on this already and I love a good character analysis, so would love to weigh in! I waited to answer this since I was actually working on this fic when you sent it, and that's got all the guys interacting, so check it out if you're interested! 🥰

Disclaimer: These are all my personal headcanons! I'm not the authority on the boys and their characterisations, nor do I claim to be, so pls be respectful if you disagree with anything!

Ok so!

I can see Rafayel and Sylus getting on well once they're more familiar with each-other (though maybe that's just wishful thinking on my part).

I think Sy would honestly force Raf to confront a lot of his own insecurities? After all, Sy seems a lot more comfortable in who he is-- he's got that self-assuredness and charm that we all know Raf has to put more conscious effort into portraying. Whilst we don't know the extent of his past, Sylus has clearly made peace with the fact that he has to do bad things sometimes, whereas Rafayel still seems to have a lot of inner conflict around his actions, morality and identity.

I imagine Raf resenting Sy a little at first and so acting out a bit, trying to one-up him etc, and Sy being Sy, I think he'd probably rise to the challenge (he could be the bigger man, but like, where's the fun in that??)

Sylus is smart, so I think he'd probably realise pretty quickly that Rafayel is masking. They've both been through a lot, and once they see that in each-other there'd be a mutual respect I hope. Plus they probably have common enemies?? So if they can both get over the instinct to lone-wolf it, that's one kick-ass team ready to go (and I will be SEATED, ready to enjoy the view!!!)

If the guys are all out together, Zayne's probably gonna take it upon himself to be mediator, care-taker etc, especially as I think he'd be the one to read between the lines and notice if any of the others are struggling (e.g. if Rafayel's getting worn out in a social setting).

At first, it would be because they're MCs friends! He knows she cares about them, so he's gonna be looking out for them all. But he needs a break! So once they're all more familiar, I can see the others trying to coax him into relaxing and letting his guard down a bit, and he'll appreciate that! (But he will keep one eye on the ball because, like, imagine Raf coming up to you and saying 'I've got this, you can totally trust me' like you would have a med-team on standby, y'know?)

I think Sylus and Zayne would naturally have a bit of rivalry in terms of authority, but it would be light-hearted. There's an ongoing debate around who MC left in charge (Zayne) but there's only one person who's actually convinced by that debate (Sylus). He's gonna assume leadership position anyway, and Zayne lets him get away with it to a specific extent, unless it crosses a line, and then it quickly becomes clear who the real leader is.

Xavier!! I can see Xavier being the 'quiet one' of the group who secretly has a lot more sway than any of them realise. The others are super comfortable around him, especially Zayne when he actually wants to relax, or Rafayel when his social battery is dead. But! Xavier's no push-over, and that quickly becomes apparent in any conflict.

I actually think Sylus would enjoy stoking Xavier's darker side (if Xavier gets involved in an argument you best believe Sylus has the popcorn ready) and that the two would make pretty good sparring partners. They'd have fun with the whole Hunter's Association vs Onychinus thing, similar to the MC/Sylus dynamic.

But at the end of the day?

There's a reason we love the boys-- they're all good guys, and whatever conflicts there are, they're gonna figure it out for MC's sake. They've all been through so much, and they're all selfless in their love for MC, so that's always gonna be something they can relate to and appreciate in each-other.

And I think they could all benefit from more genuine friends?

So yeah! That's my take! I know I love angst but I'm choosing to be an optimist, mostly because I love the found-family trope and I wanna see the boys getting up to sitcom-type shenanigans! 😭😭😭

[clockwork-carstairs]

“You made yourself a different person than the one I loved” – on Kit’s letter, his projections & idea of Ty

aka where i try to make sense of kit’s letter in the context of who ty was to him. basically i think that understanding that kit may not have had an accurate image of ty in his head helps to contextualise why kit believes the things he does, regardless of whether they’re fair to ty or not. it makes more sense reading lines like:

“in all the world, kit had never met anyone he believed to be so incapable of evil”

“all his energy had gone into ty, all his devotion and hopes for the future”

because you can see so clearly how much kit was projecting onto ty. ty, more than a friend—or whatever you might call it—was also the personification of this new world and all it meant for kit. kit saw him as this overwhelming force of good, beautiful as an angel, someone who not only wouldn’t do evil but was “incapable” of it.

so you can kind of see why everything was lost for kit once ty went through with the necromancy: because by doing so he was breaking the image kit had of him. of ty as a saviour of sorts from kit’s previous life, the person who convinced him to stay, who made kit feel like he was really a part of something, something magical and exclusive that not everyone got to be.

further evidenced by other lines:

“he had been too fixated on losing ty to tell him what he needed to hear” -> kit knows he should have told ty much sooner how he really felt about the situation. kit knows he deflected and in various ways lied to ty about trying to bring livvy back. but kit had wanted to stay by ty’s side, stay included in ty’s plans, more than his desire to tell ty the truth that he hated the idea.

“you made yourself a different person than the one i loved” -> ty as a person being shaped by kit’s projections of all his hopes and dreams, the face of this new world kit was drawn into, the first person he really got close to after he was pulled from one world to another, the person who convinced him to stay.

was the “person [kit] loved” an accurate reflection of who ty really was, flaws and all? unlikely. and the image of ty in kit’s head didn’t allow room for the real ty’s complicated, overwhelming grief, either, and the ways he would try to cope with it: and i believe this is part of why kit was so shocked by what happened and why he’s still so angry at ty. because ty proved to him that he wasn’t what kit believed him to be, and so all of kit’s hopes for his new life came crumbling down.

do i think it’s fair to ty? no, i don’t. but i think both can be true: that kit is upset and had gone through a traumatic situation, and has valid feelings about it while also understanding that he had a very skewed perception of ty that wasn’t fair to him.

mostly i think we need more room for understanding ty’s feelings*. how it must have felt to lose his twin sister in a horrifying way, devised a plan that (to him) seemed completely reasonable** only to have his best friend switch up on him last minute, tell ty he loved him mid-ritual, later say he wished he’d never met ty and basically tell ty that he was selfish and then on top of that leave without saying goodbye.

i also stand by my belief that “how long do you think it will take you to forgive me” is something both ty and kit could/should be asking each other, not just one way around. i honestly don’t understand why both kit and ty would think only kit needs to forgive ty and not both ways. mostly i just don’t think the narrative that ty’s the only one who needs forgiving is very fair, or makes much sense with their characterisation + the context + what actually happened.

in sum, when kit says “you made yourself a different person than the one i loved”, the person he’s referring to is an idealised version of ty whom he had projected all his hopes and dreams for the future onto, and by going through with the necromancy ty completely shattered kit’s understanding of him. this is consistent with other lines in his letter: “you wanted that more than you wanted me”, “when you brought livvy back, you changed yourself” (did ty really change? or did he just prove to be different from kit’s idea of him? genuine question), and perhaps most strongly evidenced by this line: “i don’t know the person you are now. you took yourself away from me. i can’t forgive that.” i don’t understand why he can’t forgive ty for not being the person kit thought he was, nor how on earth ty was supposed to know this, but i digress.

* i hope this is addressed in TWP because between TDA and now, we’ve had FAR more insight into kit’s thought processes than ty’s and as such we’re only really seeing one side of the situation.

** i also think part of the glaring misunderstanding between kit and ty can be understood from their respective backgrounds. obviously for kit, growing up away from the shadowhunter world, something like necromancy is completely out of the question. the way it would be for you or me. but ty grew up in a world where bringing people back to life was something that could and had actually happened. so it’s a far crazier, more impossible idea to kit than it would’ve been to ty.

[nav-i-nav]

Actually, while we are at it, can we talk about how awful a lot of the fanbase treats Basil? My man can’t catch a break because almost everyone misinterprets him one way or another.

Where do I even start? Literally everything he does is taken the wrong way. There’s the people who characterize him as an obsessive yandere who only cares about Sunny and did everything in his power to isolate him. On the other hand, we have people who just remove one of the basic core aspects of him as a whole and make him an empty husk with no real personality.

Headacanon him however you want, but also try to understand him? I don’t know how people can say he only cares about Sunny when it’s clear he deeply appreciates his friends. He has a stronger bond with Sunny, but that doesn’t mean he’s a possessive and obsessed person who is toxic.

He definitely fucked up along the way, but his actions were never intended to hurt Sunny intentionally. He was in a panic and all he wanted was to keep his best friend safe. People constantly treat him as he’s a disgusting person for simple fact he shows mental illness signs, which is incredibly disheartening because there IS people in real life who act this way and can’t help it! What a relief it is to know people will treat me or my friends like this if we dare show an ounce of distress or panic!

Being mentally ill does not justify your actions, but this also doesn’t mean you are allowed to treat people who suffer from them like scum. People like Basil deserve to get help, to have people who support them so they can start healing. Basil clearly didn’t have that support, the only person that was there for him being his bedridden grandmother who he eventually lost.

And on the other hand, we have people who just choose to get rid of Basil’s personality altogether and characterise him as this character who is all suffering and trauma based off things that are NOT canon. It’s true that Basil’s life doesn’t exactly fit a “normal” childhood (having to live with his grandmother for unknown reasons) but that doesn’t immediately mean he is beyond traumatized? Basil is a little shy, sure, but a lot of people are. Basil used to be a smart and lively kid who loved his friends dearly. It wasn’t until AFTER the incident that he spiralled to the point he is where we see him in game.

People either disregard his trauma and paint him as a villain (let’s make one thing clear, there are NO villains in OMORI), or try to give him even more trauma for no apparent reason. All we know is that his parents aren’t really present in his life, and while that may bring some issues, from what we can see in cutscenes and the photo album, Basil lived a comfortable life surrounded by a loving family member and friends who cared about him.

You are free to explore Basil’s character however you like, but there’s a point where it no longer feels like Basil.

There is nothing wrong with showing his gentle side, just as how there’s nothing wrong to explore his unhealthy behaviour. But focusing on only one of the aspects of his entire self just turns him into a one-dimensional character with no redeemable qualities.

In my opinion, Basil is one of the best examples of a person struggling with mentally illness in media, yet people choose to ignore the complexity of his character to have either a selfish and dangerous yandere or a cute and shy femboy who’s only there to look pretty.

Write him like the mess he is. He is unstable. He is resentful, he is paranoid. That’s what makes Basil’s character so loved. That’s what makes him feel so relatable and human. Ignoring one side of his self takes away all of that. OMORI is a game about acceptance and forgiving. Why shouldn’t we apply those terms to their characters? It’s rather hypocritical for the fanbase to treat Sunny as a poor boy who only did what he did due to stress and trauma and then mark Basil as a psychopath with no redeemable features as if he wasn’t also a scared child who witnessed his very best friend push his sister down the stairs.

[autisticrosewilson]

Hello to the one blog I've been loving to read for the past few days :) <3

Just wanted to add a little something that I started thinking abt after reading a few of your really cool posts, I think we should also discuss abt how Bruce's argument abt killing (with Jay) are often framed with "you're not the judge, jury & the executioner" which is really telling of who he thinks can exersise this legitimately? ? ?

I think it'd be constructive to actually properly discuss this aspect of Bruce's philosophy too. Plus, we get more nuanced Bruce characterisation. (Also keeping in mind uh... comic book propaganda of the writers and DC themselves)

YES ABSOLUTELY! Like what if someone is given a death sentence by a court of law? Does Bruce still care? I'm sure most writers would tell you no because Bruce has become a cop allegory. He's a violent enforcer of the law, and he seeks to uphold the law. Which is a recent switch! Batman comics used to be more radical, but now they're being written by old white men. So it's another one of those things where you can ignore it for your PERSONAL INTERPRETATION but you can't say that it's not A Thing because it's been like this for at least a decade.

His argument would likely be that everyone deserves a fair trial, that everyone has the right to be seen in court. Something which I do think Jason would agree with because when he's being written well he's not just shooting petty criminals! Jason's stance comes in with the big players, the disgustingly rich or well connected upper class who get away with murder. This has been true since the Garzonas case, the whole point was that Felipe was virtually immune to the law, and Jason couldn't allow that.

I think what it comes down to is whether they believe in reformative justice or punitive Justice, and I can most assuredly say that Batman believes in the latter. You can argue that Bruce is an advocate of prison reform but we don't really have evidence of that. He considers himself a punishment for criminals, he considers himself an equalizer but that's not true because he just delivers criminals into a system that is fundamentally corrupt and unfair. Do you actually think a trial in GOTHAM of all places is going to look at a rich man vs a petty crook the same way? That rarely happens even in real life.

And I don't think that Bruce does what he does out of inherent malice. Bruce is a deeply empathetic person, the core of Bruce Wayne is that he cares. But that's not enough, Bruce was allowed to grow up sheltered and it gave him an intrinsic idealism. He only has a Birdseye view of what the common people go through, that is not enough to stand there and say that he understands . Because he doesn't. He literally can't. And I think this bias, certainly one projected by the writers but that's another issue, comes through the most with Jason and Steph.

As far back as Jason's Robin era - widely regarded as Bruce's peak of being a good dad - he still makes some pretty big mistakes. Because he finds this homeless kid whose family has been ripped apart by the corrupted systems, who has actively experienced the worst Gotham has to offer, and he comes to the conclusion that if he doesn't take Jason home Jason will inevitably become a criminal even after Jason explicitly says he doesn't like stealing. So he takes Jason in but he makes that position as his son synonymous with Robin. And this is where we have to talk about meta because Jason is intrinsically tied to meta narratives. I'm not sure if you saw my other posts about Robin, as a concept, but I'll summarize here.

Child sidekicks are fine, in early comics. When things were campy light hearted whodunnit mysteries with a few action sequences, when you always knew that the child hero would come out unscathed, would always live till the next issue. And so when Bruce makes Jason Robin you have this veil of suspension of disbelief. But Jason's era is where you start seeing these kids' storylines get worse. More gruesome, more violent, more cruel. They start really testing the limit of Bruce's morality.

Batman: The Cult - Robin Jason has to crawl through a pile of dead bodies and while Bruce is having a mental break this MAYBE 14 year old is trying to get them out. The Diplomats Son - Jason watches a rapist be let go, because he's powerful and his dad has money. He sees exactly the kind of damage it does to the victims, he's the one who finds Gloria Stanson. A Death in the Family - Jason is murdered. Tortured and murdered and betrayed. He's dead and he was always intended to STAY dead. And all throughout Tim's run and then into Steph's the writers retroactively change everything about who Jason was because it has to be HIS fault, because if it's not Jason's fault then it might be Bruce's. Because how can audiences see Bruce as just and good for taking in new kids after what happened to the last one?

The suspension of disbelief shatters. Because now Jason is back and he's angry. Because maybe we as readers know that Tim, and Steph, and Damian need to be Robin because Robin makes money with young readers. But you know who doesn't know that? Jason, who no doubt assumed that his survival depended on being Robin. Who was sold out because he was Robin. Who was badmouthed and disgraced the entire time he was gone by people he loved and trusted. Jason doesn't know that he's in a comic book, but I argue he knows he's in a Batman story.

If not from his first appearance then definitely in recent ones. What can you do besides lay down and forgive and keep coming back when you know that the universe revolves around one man? How do you get rid of the terror and anger at realizing that you can never leave, that no matter how much he hurts you the universe will bend itself in half so that he is still just and right? When you realize that the love that has defined you is a disease rooted so deeply that to rip it out would be to kill yourself, that you can't even stay dead because Bruce does not want you to be.

And they couldn't even stick to Jason being the problem! Because then Steph dies. And all I could think was "Of course she did. She's an East End girl whose been compared to Jason constantly. Or a version of him. Of course she would be tortured to death trying to get Bruce's approval." Here we are, history has literally repeated itself, and...Tim is Robin again. Why? Because this is a comic book, and Batman needs Robin.

But what do you think everyone in-universe thinks? What do you think that looks like? How can you possibly still call Bruce a good parent under these circumstances? Bruce calls Robin a blessing, a gift, a necessity. He relies on Robin, physically to watch his back and emotionally to keep him in line. He trains them, he molds them, he loves them.

But sometimes love just isn't enough and the good Robin does shouldn't negate the harm they get in the process. Robin then becomes this horrible force of change, you get it and you know that this has doomed you, one way or another. Because Bruce believes that suffering is noble, that pain can reform people. It's baked into his character. Even if he doesn't intend to hurt his kids, it's not like we haven't seen him justify it to himself and others. "I love you, I did this for your own good, I thought I could help you, it was your fault I did that, it won't happen again, I lost control of myself but only this once, we can be a family again if you just come home." It reads an awful lot like an abuser trying to convince you or himself that he's not in the wrong.

This was longer than I intended it to be, but I guess my main point is that Bruce and Batman can't ever be fully separated. Something that I think his relationship with Cass shows us he's aware of but chooses to ignore. We know that Batman is dangerous, that he wouldn't hesitate to hurt his kids, we saw that with Zurr-Batman (WHO BRUCE ADMITTED WAS A FACET OF HIMSELF YOU CAN'T SAY IT WASN'T HIM BECAUSE HE HIMSELF SAID THAT IT WAS). So why try and act like it's this impossible out of character thing for Bruce to be harmful? For his kids to feel angry and hurt about his actions or for their feelings to be as or more valid than Bruce's. Batman has and will hurt his kids and Bruce will try to rationalize it all away because he loves them, he would never want to hurt them. And the narrative will tell us that Bruce is right, that this is good and fair and just, that Bruce's perspective is the correct one, that his kids deserve this, because this is a comic book and outrage sells. Or they'll retcon it and pretend it never happened. Or they'll just never bring it up again. Or Bruce will be forgiven regardless just to hammer home how good and right he is.

Because this is a comic book about Batman, and Batman is a hero, he is our protagonist, and so he is reliable and we should never doubt him, or call him out, or be mad at him. Naturally.

[rallamajoop]

On Mia Winters, misogyny, and abuse

As should be pretty obvious by now, I love Mia Winters. I honestly think she’s one of the most compelling characters in this whole damn franchise.

But let me make clear: you don’t have to love her. Mia’s canonically done a lot of shady shit in her time, and her relationship with Ethan has real problems. There are perfectly viable interpretations where the only thing really holding it together is his own denial. Only I never seem to get to read any of those takes, because the most common characterisations Mia gets in fic are an irredeemable monster, or a cardboard cutout who exists only to be written out as quickly as possible. And to write Mia out to that degree doesn’t just do her character a disservice, it does Ethan a disservice, and a big one.

The amount of Mia-bashing I see out there in this fandom turns my stomach. It’s not just the slash fans who’d rather ship Ethan with another dude. I have seen Mia loudly bashed in tags on het or gen fic in which she does not even appear. I have seen male fans reviewing these games on youtube who treat her the exact same way. But it’s never more frustrating than when that hate comes from the same fans who’ll turn around and talk about characters like Chris or even Lady Dimitrescu (she who canonically abuses her and murders her servants, and, y’know, eats people without a shred of remorse) like they’re perfectly forgivable and have done no real wrong. And don’t get me wrong: I love Lady D, but I love her because she’s magnificently evil. Mia? Mia’s a whole lot more complicated.

But to really explain why this hate makes me so uncomfortable, I’m going to have to start with the start of Resident Evil 7, and Mia’s very first scenes in this whole franchise.

Let me quickly summarise the opening of that game. A man whose wife disappeared without explanation suddenly gets a message about her whereabouts. He travels to an isolated location, breaks in, and finds her. She denies ever sending him that message, and seems incredibly distressed that he’s there at all. They fight. It ends with him sinking an axe into her neck and shooting her several times with a handgun. But see, he didn’t do anything wrong! It was all self-defence! She started it! She was acting crazy!

If you didn’t spot it, the whole opening of RE7 reads uncomfortably like a story about a woman escaping an abusive relationship, then being tracked down and murdered by her ex.

Obviously, I am not here to tell you Ethan’s abusive. He’s not, we’ve got no reason to imagine he is. He was legitimately acting in self-defence.

But the fact the first thing Ethan has to do in this game is find the balls to kill his own wife ‒ that a whole new era of Resi games has opened with a sequence so easily read as a sympathetic justification for how a man might perfectly innocently track down his missing spouse and "have" to kill her – that made those opening minutes into by far the most uncomfortable part of this whole franchise for me. Shit like this really happens. I mean it, I will track down the fucking statistics on women who are murdered after trying to leave an abusive partner if I have to.

What happens to ‘Mia’ in the opening to RE8 isn’t much better: it's as textbook a fridging as any I’ve ever seen. Yes, it’s a fridging that gets retconned away later when she turns up alive, but the fact that’s even possible speaks to just how awful and confusing her death is. The game opens with Mia’s violent murder at the hands of this series’ longest running ‘hero’, and the event is framed entirely in terms of how awful it is for her husband. That's as frigid as a fridging gets.

The eventual reveal that the real Mia was just trapped alone in a cell being experimented on by a madwoman for god knows how long doesn’t actually make it better. The horror Mia goes through in both these games is a footnote, barely explored.

I bring these events up not to condemn the RE franchise, not to say that including these sequences was unconscionable, or that violence against women can never be shown in a horror title. A quick glance at my tumblr should demonstrate how much I adore these games. Tropes like fridging become problems only because they’re so ubiquitous they can come to define almost the only roles women get to play, not because any individual example is necessarily grounds for outrage. If anything, there’s just as much to analyse in all the hate thrown at characters like Ethan Winters (or his predecessor, Jonathan Harker) as a archtypical examples of sexism against men – backlash against the very idea of a male character in the disempowered role of horror victim, usually reserved for women.

But with this context in mind, my god is it uncomfortable to see people talk about Mia as irredeemable monster who deserves to suffer more. People who will valorise the likes of Chris Redfield, who didn’t even bother to stop to tell Ethan that’s not Mia, yet talk about Mia like being shot to death in her own living room was only what she deserved. That is just a whole load of yikes.

And given that both games open with Mia being violently killed by a male protagonist (twice in RE7, with the player in control), it sure is convenient how so many people have managed to ‘find’ the evidence that proves she’s the real villain. You don’t have to think too hard about Chris Redfield as a violent maniac or Ethan Winters being forced to kill his own wife if it’s okay to inflict violence on this woman. “Yes, but she shouldn’t have done [X]…” or even “But what if she’s the real abuser” is a narrative that gets thrown at real women in abusive relationships all the time – especially when the man is a friend of whoever’s casting judgement, or even a celebrity. Real world examples of this shit in the wild run the gamut from wild fan-takes on The Shining ‘proving’ that actually the abused wife was the ‘real’ abuser all along, right up to the ongoing hate campaign against Amber Heard. People don’t want to have to think badly of someone they admire, and will take any excuse to shift the blame. The stakes are infinitely lower when we’re talking about fictional characters, but the same pattern plays out.

And look, I do get it. It’s easy to go into these games and come out with a negative opinion of Mia. She’s the one who lures you into danger in RE7, acts all innocent, and then comes at Ethan with a chainsaw – and when you finally find out her big secret at the end, it turns out she was working for the people who created Eveline from the start! You’re really not given a lot of reasons to invest in Ethan and Mia’s relationship before she’s suddenly coming at him with a knife, and the fact she never does get to come clean to him in canon leaves a bad taste in the mouth.

It’s really easy to go into RE8, note all the glaring signs that Ethan’s relationship with Mia isn’t healthy, and draw your own conclusions about a woman we don’t hardly even see again for most of the runtime of the game. Half this goddamn fandom still seems to think Heisenberg is actually a lycan, ffs – most of what people think they know about Mia is more meme than fact, and the rest is pretty surface level. Basic media literacy is not exactly high out there in the tumblrweeds (let alone the rest of the internet).

But as for the idea that Mia’s responsible for all the horrors Ethan went through, people seem to forget that Mia herself went through so much worse. Ethan spent a day in the Bakers’ property, and a day in the village. Mia spent years trapped in the Bakers’ property, and days at least imprisoned in Miranda’s lab, knowing exactly how much danger her family were in, helpless to save them. She’s no innocent herself, but ye gods has she already suffered for her crimes.

So with all that out of the way, well, what’s the actual ‘evidence’ that Mia herself was abusive? No-one's coming into this one without some bias, but let’s at least give it a fair shake.

Right upfront, I want to recognise that in both fiction and reality, women can be abusers, and men can be victims. Abuse in heterosexual relationships is far more likely to occur with the man as the abuser, but the reverse does happen, and the fact culture at large can be so eager to cast the woman as the villain doesn’t make it any easier for the real male victims of abuse to get recognition and help. Society as a whole is still just really shitty about enabling or excusing real abuse.

But the idea that Mia was abusive has very little to back it up. Whatever you make of “her” interactions with Ethan at the start of the game, the fact remains: that’s not Mia, and the fact she’s acting so strangely is meant to be our clue that something much bigger than a little marital strife is going on here. Knowing all this doesn’t really make the scene where she’s violently executed less disturbing, but you can’t miss the hints we don’t yet know the full story.

So the question becomes, is there any evidence that the real Mia was abusive? I’ve dug into this one a bit before in my post about trying to figure out the timeline of exactly when Mia was replaced, but there are no definitive answers as to how long Miranda's been living in their house. To summarise a long post (and a surprisingly lively timeline of events from the days before the game begins): the most likely intent seems to be that Miranda’s been posing as Mia for less than a week, though a lot of the vibes of the scene give me the impression it’s been several weeks at least. Ultimately, that’s going to come down to your own interpretation.

The Mia mentioned in Ethan’s diary who blew up at him at the hospital could be the real Mia, but more likely isn’t: you can’t really use her to argue anything definitive, one way or another. The Mia from the flashback where Ethan gets the call from Rose’s doctor is the real Mia, but if you think getting upset when your husband brushes off your obvious distress over your daughter’s health makes you abusive, then nothing I say here is going to convince you otherwise.

The only ‘real’ evidence that Mia might be a problem is one line you might hear from Ethan while taking Rose to bed, and it is admittedly a red flag: your mother’s scary when she’s angry.

And to anyone whose whole hatred of Mia has been built backwards from this one line – especially anyone who’s grown up in a dysfunctional household themselves – hell, I get it. It is one really yikes thing for Ethan to say about his wife.

But in Mia’s defence, I can only point out that, well, yes, canonically, she is scary when she’s angry.

Oh, did I say angry? I meant fucking possessed.

And if Ethan’s bringing up the spectre of that time, even subconsciously, maybe that should be an even bigger clue that the Mia in this house right now isn’t Mia.

But what really shows this line for what it is is that we’ve seen the real Mia angry. We’ve seen her cold fury at Eveline, daring to go right back to asking ‘can we be a family now?’ within hours forcing Mia to assault her own husband with a chainsaw. We’ve seen her frustration at Ethan’s own denial, and we’ve seen her stalk out of the room when he blows off an important conversation for a call from work. We’ve seen her advance on Chris after he shut her down, demanding, Where is my husband? Where is my daughter?!

We have never seen her angry without real justification. Her anger is neither violent nor disproportionate. It’s consistently purposeful, focused, and contained. There is nothing scary about the real Mia’s anger, unless you’re threatened by the very idea she might have something valid to be angry about.

There is evidence of tension in the Winters’ marriage from before Miranda’s arrival, but it takes a very different form – most evident in the flashback scene where Ethan receives the call from Rose’s doctor. Far from Miranda’s brusque, dismissive copy of her, the real Mia is anxious and depressed, scared of what Rose’s results might reveal. Here, Ethan’s the one brushing her concerns aside (“We talked about this […] Rose is fine!”) He recognises there seems to be something Mia’s not telling him, says they should talk about it, but then immediately brushes the conversation off when he gets a call from work, while Mia storms out of the room.

You can certainly read Mia as a hypocrite here, getting angry at Ethan for not knowing things she’s deliberately kept from him. But it’s Ethan who decides a call from work is more important than a conversation with his wife – someone who is obviously distressed, canonically still on a regime of drugs after the traumatic events of RE7, very likely suffering PTSD along with Ethan, and maybe even some form of postpartum depression. We don’t know anything about Ethan’s work, so there’s no point in speculating about how much he ‘needs’ to take that call. Mia’s no clear villain here – quite the opposite.

Personally, I tend towards taking this scene as evidence that Mia has tried to talk to Ethan about what really happened to him, but hasn’t managed to get him to face the truth. For all that Ethan supposedly wants to talk about the past, it’s a defining plot point that he’s badly in denial himself.

Or they could both be at some fault here: Ethan unwilling to face the truth, while Mia is reluctant to force him to face something she knows will hurt him and bring him distress. Even when Mia says outright that she ‘tried to keep this a secret, but…’ to Chris at the end of the game, the implication is as much that she’s tried to keep it a secret from people like Chris, who might decide Ethan is dangerous. She’s lied to protect him before, and if she’s still lying to him about her past with the Connections, then the fact that knowing the truth will hurt Ethan is obviously among her reasons. Protecting Ethan has always been among Mia’s top priorities ‒ even at her own expense.

The only other real hints we get about Mia’s inner life come from the glimpses of her we get in Donna’s domain. But I’m hesitant to read too much into these, given how unclear it is how much is just a manifestation of Ethan’s own anxieties. If anything, the ‘Mia’ in these scenes almost seems to have some far worse secret than simply having not told Ethan something he really ought to have put together on his own, and I’d kind of love to see that explored too – at least as long as that goes somewhere more interesting than round umpteen of ‘and that’s why Mia sucks’.

But my point here isn’t that you have to read any of these scenes the same way I do. I do think it’s important to recognise that nothing written for a game like RE is truly character-driven; scenes exist to serve the plot far more than to reflect consistent character motivations or hold up to fridge logic (which, let’s face it, is the real reason for most of Chris’ horrific behaviour in this game, let alone anyone else’s). The result is rarely super consistent, and leaves ample space for multiple interpretations of anyone’s motivations. Regardless, the idea there’s any hard evidence that Ethan and Mia’s relationship is dysfunctional, or that whatever’s wrong is Mia’s fault alone, is going to be incredibly hard to justify.

Any assertion that Ethan and Mia are somehow on the verge of divorce also needs to be weighed against the masses of evidence of how much they love each other – the number of times Mia has said she loves Ethan, up to and including (yes, I’m bringing this up again) how ready she is to die for him in RE7. Her speech to Chris at the end of RE8 states explicitly that being together with Ethan and Rose is the only thing that matters to her. “Mia, I’m sorry, I love you,” are some of the last words Ethan ever speaks – and I can’t help but read into how the moment he finally pushes Rose into Chris’ arms so they can get away with him weighing them down is right after he learns that Mia is alive, and thus implicitly that Rose won’t be alone if Ethan doesn’t make it. And good god does that scene break my heart every time.

It’s worth recognising that the fact Ethan and Mia love each other doesn’t inherently mean their relationship is healthy, or that you have to love them together as much as I do. Like I said up top, you don’t have to like Mia, and you don’t have to justify not liking her if you don’t. I would genuinely like to see fics where Mia and Ethan’s supposedly-necessary break up feels in character. Where Ethan loves her but just can’t deal with the resentment and the fallout over all the lies she told him, where he's been clinging to his 'happy ending' with Mia after surviving the Bakers so hard he can't face the fact things just aren't working, or where he’s having to face that their relationship only ever really worked because she was away so much. It will break my heart, but fiction is allowed to do that.

But god, it would be nice if people could just take the bashing below an eleven around this place. The number of times I’ve had to sigh and back-button out of reading something, because yet another author has decided to project their own hatred for Mia onto the husband who’s still reeling from watching her being violently murdered in front of him… it gets fucking old, y’know?

I would really like to think that in the year of our lord 2024, fandom would be a bit past this thing where they bash the canonical female love interest in the name of shipping the hero with another dude. People will bend over backwards to try and cast Heisenberg and Chris as guys who really care about consent and worry about Ethan getting hurt, because heaven forbid anyone be caught shipping something slightly problematic. And yet misogyny still somehow gets a pass.

You do not have to love Mia. You don’t even have to like her. But ye gods, the hate she gets is baseless and absurd.

Hasn't this poor woman suffered enough?

(And on that note, I promise I am finally done soapboxing in defence of Mia Winters, thank you for bearing with me for this long.)

[di-42]

Well, what a good month for reading August has been! A few days off can make such a difference!

As always I'll try and tag the writers whose Tumblr username I know, so they know they are loved!

If your fiction is on this recommendation list and you'd rather I take it off the list, or if you know a writer who's on this list would rather not be, please let me know and I'll remove their fiction immediately.

I have really enjoyed these fictions, including not one but two Christmas stories. In August. Because, why not? i hope you'll love them too!

August's Awesome Fictions

WIPs:

Wavelengths & Frequencies by imposterssyndrome @maaikeatthefullmoon and shades_of_eccles_cakes @shadesofecclescakes (rated E, chapters 5/?)

I'm absolutely loving this enemies-to-lovers human AU where Crowley and Aziraphale are radio DJs. They loathe each other. They also can't stop thinking about each other! Of course they end up working for the same media corporation. The humour in this story is sharp and clever, and the characterisation is excellent! It's updated every Monday and honestly the only problem I have with this story is that I receive the notification email on a Monday morning and need to wait until at least the end of the working day to dive in!

You're The Bad Guys by Nebz_AlphaCentauri @alphacentaurinebula(rated E, chapters 8/?)

Human AU set in the Cold War. Aziraphale is an MI6 agent, Crowley is a KGB agent. They're assigned to the same mission in Berlin by their respective head offices. This story is full of suspense! I love the characterisation of our heroes and each chapter leaves me wanting for more! Updated every Friday.

My own WIP And I Did (rated E, chapters 6/13)

A post season 2 fiction where Aziraphale is Supreme Archangel and Crowley is Grand Duke Of Hell.

In my not-a-summary I say that this is a story about faith, about love, and about choices. Which is true. But I have come to think of it also as my apology dance to Crowley. My headcanon about Aziraphale has always been clear and my first fiction was me sharing that headcanon basically. I wasn't as sure about what Crowley would do after the final 15 as I was about what Aziraphale’s motives were. I didn't see Crowley drinking himself oblivious or taking a road of self destruction. But I didn't know what he would do. So I skipped that part and started that fiction from after the failed second coming, but still I didn't think I did Crowley justice. Then it hit me, and that was when I started writing And I Did. I knew what Crowley would do. Crowley would do what Crowley does. And what does Crowley do best? This is a story about faith, about love, and about choices. I try to update every weekend, but I might not be as reliable as I’d like!

Complete stories:

The Truth About Plants & Queen by ShortInsomniac98 (rated E, 11353 words)

Human AU where Crowley hosts a night radio program and Aziraphale calls in. I love how their relationship develops in this story and I loved to see a friendly side of Gabriel! (And I mean Gabriel!)

The Anon Before Christmas by @foolishlovers (rated E, 66732 words)

Ah. Where to begin. Every now and then, you read a fiction that just makes you feel at home. Makes you feel like you’re in safe hands. Like you’re in for a real treat. This absolute gem has very quickly become my favourite human AU. For several reasons.  The characterisation of the two main characters is absolutely spot on. I could hear Crowley talking in DT’s Crowley voice and see him moving in DT’s Crowley way, and I could hear Aziraphale talking in MS’s Aziraphale voice and see him moving in MS’s Aziraphale way. The pace of the development of their relationship from enemies to lovers is just perfect. It’s told from Crowley’s POV and you can see how his perspective changes as the story progresses, but the writer is so good that Aziraphale’s change of perspective shows perfectly through Crowley’s POV too. The array of side characters is so good that it actually pains me to call them side characters. I wrote in one of my comments to the fiction that I will forever adore this story’s Bee, and I meant it, but Newt and Ana are equally fantastic (and I loved the other cameos too!). Also, and this is especially important to me, this story is as much a love story between Crowley and Aziraphale as it is a story of true friendship among all the characters. They look after each other, they have each other’s back, they support each other. I am so lucky and privileged to be able to see myself represented in that aspect of the story. Last but not least, this fiction doesn't overstay its welcome one bit. You are happy about how everyone ended up, but still could read more. It’s like you are part of the gang and want to know what your friends are up to. Everything in this story was perfect. I realise I haven’t mentioned what the plot is about, but hopefully by now you might want to find out for yourself!

Planes, Trains & The Apocalypse by walking_contradiction42 (rated teen, 32382 words)

Human AU where Crowley and Aziraphale meet on a plane on their way to Tadfield (via London) for Christmas. Crowley can't stand Aziraphale and only wants as uneventful a journey home as possible. Ha! 

I understand there’s a film with a similar title, you definitely don't need to have watched the film in order to enjoy this lovely fiction. 

The Bookseller And The Garden by oceantears (rated teen, 13668 words)

Fluff, fluff, fluff! Canon divergent fiction where Crowley is a demon stationed on earth, Aziraphale is an angel stationed on earth, but they have never met until present day. There's no end of the world in sight, only an angel and a demon falling in love and not knowing how to break it to the other that they're not human. I laughed all the way through.

After The End (part one of Nice And Ominous: A Reluctant Eschatology Of The Second Attempt) by beardo @e-rated-beardo (rated teen, 26086 words)

Crowley learns to cope after Aziraphale goes to heaven, with a little help.from his friends. And from the Bentley. I love the writer’s humour and the conversations between Crowley and the Bentley are hilarious.

Series:

Aziraphale’s Diaries by azzfell, @fellshish

This series is hilarious, warm and fluffy. So far there are four stories, all consisting in, yes you guessed it, Aziraphale’s diary entries. In the first story, Empirical study on the principles of snake care (rated teen, 2048 words), Aziraphale suddenly realises he hasn’t paid enough attention to Crowley snake-y needs. He decides he wants to make up for it. Hilarity ensues. Put your cup of tea down before day 6, trust me. In Experiments of an angel who has read entirely too much fanfic (rated teen, 3064 words), Aziraphale discovers fanfiction shipping him and Crowley and decides he wants to test some of the tropes on the demon. Reading Crowley’s reactions through Aziraphale’s POV lens will make you feel warm inside. Drink down at day 10. In How to be a demon: a brief history of the Arrangement (rated teen, 2663 words), Aziraphale recounts some of the temptations he’d had to do during the years, to honour the arrangement with Crowley. The last entry will make you melt. In Adventures of a mystery shopper in the bookshop (rated teen, 3090 words), Aziraphale is worried that Crowley is getting bored, so he wants to help by giving him something to do. Peeps, for this one don’t even pick your drink up. You’ll end up spitting it all over your laptop/phone/tablet.

One shots:

Keep Digging by Appleseeds (rated teen7068 words)

Human AU. Crowley and Aziraphale work in the same office and Crowley is trying to gather the courage to ask Aziraphale out, only to get cold feet at the last moment. In order to try and save his face, he needs to do what the title says. I howled with laughter. Just put down whatever you’re doing and go read this right now. It’s unbelievably hilarious.

But It’s Pretty by Supergeek21 (rated E, 2544 words)

Aziraphale and Crowley have a conversation on why the Bentley is yellow and why the walls are yellow. Things get deliciously spicy.

You've Got Kudos by curtaincall (rated M, 4128 words)

Aziraphale and Crowley both write Good Omens fanfiction on Ao3. Crowley’s stories are sweet and romantic. Aziraphale’s stories are smutty and spicy. They love each other's stories without knowing who the writer is. This fiction was a treat!

The Corset by smitten_obviously @sabine-smitten-obviously (rated G, 1248 words)

A funny and sweet account of that time in the 17th century when Aziraphale decided to wear a corset. I really loved how sweet Crowley is here, without overdoing it a bit! A little gem.

My own little one shot, Angel! Angel! They're At It Again! (rated M, 5566 words)

It's the year 2030. The world never ended. Aziraphale and Crowley are living happily and safely together as a married couple. Everything would be well, if it wasn't that lately Aziraphale has been a bit busy. A bit distracted. Now, Crowley can't have that, can he? He seeks the advice of his girlfriends, who unwittingly give him an idea on how to liven up his marriage. A fluffy and hopefully funny way to the South Downs cottage.

Poems:

To Wish To Fall by ArchangelRemiel @sassysnakedemon

A lovely and sweet poem that explores different ways of falling.

The Devil's Red Hair by lickthecowhappy

I really loved this very emotional poem! Aziraphale has a little souvenir helping him cope in heaven.

[where-dreams-dwell]

*One Day Netflix Spoilers*

You can interpret it however works for you, and I don’t know how it played out in the book, but I loved the scene where Em and Dex got together.

Because Emma *chose* Dexter. When she didn’t have to, when she had other options, knowing all of his baggage, and knowing that they would probably be able to stay friends if she didn’t. And she still chose to start something romantic with him.

Emma was at the highest point of her success: a published author, signed for a second book, sent to live abroad in an exciting new city. And she’d started seeing someone who (from the little we see) is kind, charming, and cares for her. Emma is winning in every sense!

And she initially rejects Dexter. Her reasons make sense; she doesn’t feel he truly *wants* to be with her, just that she’s there and he’s lonely. She is sure of herself and her place in the world, and turns down the man she used to crush on because she wants it to be real. When given this opportunity were not shown a knee jerk, desperate, ‘oh my god, finally, yes!’ moment when he says he wants to be with her. She was NOT waiting on this, and she’s not PINING for him. It actually shows huge strength that when the man she used to like finally wants to be with her, she has the inner strength to say no and stick to what she deserves; a proper relationship with someone who truly wants her, not a placeholder.

Dexter lays his heart on the line, leaves himself competent venerable, and Em says no.

You could interpret Em coming back as unsatisfactory: a woman in her prime, going back to the man she’s been pining over most of her adult life. But it can also be seen as an empowering moment.

Emma knows all of Dexters issues and chooses him anyway. Dexter has literally just laid out his current headspace and issues, and it’s clear she was supporting him as the divorce was announced and agreed upon. And previous episodes show they’ve been close throughout Dexters marriage and fatherhood, with Em stopping in at his job and answering his late night calls. She’s been his best friend again for several years and knows his struggles, so she is going in to any romantic relationship with her eyes open.

Reducing Emma’s choice to being a silly or naive one I think misses huge parts of who she is, things which are key to her characterisation. Throughout the series she’s shown as intelligent, savvy, switched on and determined. Even when she’s unhappy or trying different things, she is sure in her conviction to do *something*. When she’s unhappy at the restaurant and Dex suggests teaching she makes a career change and trains. When she’s at her lowest (post headteacher affair and loosing Dex) she turns rock bottom into a spring board and tries once again to write her novel.

Emma is the embodiment of conviction. Whether it’s knowing what she wants or just knowing what she doesn’t, she is decisive and commits to her path. She’s the perfect foil for Dex who’s lesson across the series is to stop running from difficult feelings, and learn to process unpleasant emotions.

So she didn’t choose Dexter on a whim, and I love that they showed that. Em leaves Dex, turns him down, and goes to dinner with her lover in the city she’s loving living in, while doing the job she always wanted.

And she could have left it like that and they would have likely remaking friends. They did after that kiss at Tilly’s wedding, and after they slept together. So she has nothing to loose by rejecting him.

But Emma *chooses* Dex. She knows herself and what she wants, she knows who she is and what she is now capable of. What she wants, if it’s on the table, is to be with Dexter. So she commits to it.

They could have made her jump at the option to be with Dex. The writer could have had them get together when Dex was at the height of his fame or Em at the lowest point of her life. And either of those could have easily had a sense of fear on Em’s part: to be equal to Dex, to be good enough for him (in her head), to finally make it. But doing it this way gives her all the power, all the agency. And I *love* that.

From comments later it’s clear their relationship was good, they do work well together and they make one another happy. We’ll never know how Emma’s life could have gone if she stayed with Jean-Pierre. But the life she chose with Dex *was* happy. As Ian said ‘[Dex] made her so so happy’: wether you think she could have done better or deserved more, a life with someone who makes you happy… isn’t an insignificant thing.

We’ll never know if it was *the right* choice to be with Dex. But seeing how happy she was it’s clear it was a *good* choice. And that’s all we can ever hope for.

[yuwuta]

you need to write more for yuuji i’m begging you you do him SO SO well like the characterisation is perfect and he’s so underrated and hot and you just know how to show it<3 it could be smth as simple as a makeout session or anything you want i love your writing

every time someone tells me they like my characterization i sob real grown woman tears and also have the intense urge to smooch you all 🫶💓 he’s actually so hot it’s crazy…. i don’t know how to describe it other than he’s such a Boy… he’s so boyish… he’s fun and he’s silly and he’s flirty but it’s sweet and sometimes not that innocent but still genuine, kinda cocky but also incredibly naive to how much better he is at somethings than other people, unmatched raw strength and adaptability and yet still crazy work ethic… handles anything you don’t want to deal with and makes it look easy even if he struggled with it, ride or die, effortlessly sexy and he literally doesn’t even know it i will bite steel oh my god

making out with him… god… the thing he’s so… he’s so intense but he always has these moments where he pulls away from you just to smile and giggle a little because he remembered he has a crush on you, and he’s kissing his crush and that’s pretty cool. and then the next second his lips are back on yours and his tongue and sliding across yours and it’s a complete 180 but it’s also not because it’s yuuji and it feels natural yk. you always know when he’s going to pull back because you can feel him smiling when you’re kissing him—though, he’s always smiling a little bit, he’s always happy to kissing you, or always trying to be sneaky and think of the next thing to do—but sometimes he smiles too wide for you to keep kissing him, so you’re reduced to pecks on his smile, and eventually he pulls back and you can see his whole smile, and he just sighs, “hi,” and chuckles and kisses your nose, and goes right back to making out… he’s perfect

perfect hand placement, too, it feels natural for him to hold you. if he’s greeting your or just feeling kiss-happy, his hands mostly stay on your lower back or your hips, occasionally roam around or he uses them to pull you closer to him or lift you up and move your around, but when he’s really into it, when he’s making out with you for the sole purpose of making you (or himself) dizzy with kisses, or as foreplay, or mid-sex, his hands always on your face, cupping your jaw. he squeezes your face with a bit of pressure sometimes, depends on how out of it he is, but he has to hold on to your face, has to use the leverage to crane your neck so he can bully his tongue into your mouth, so he can lick at every crevice, so can he breath your breaths. it feels like he’s trying to consume you sometimes (his cute-aggression is insatiable most days, too), but even that wouldn’t be enough for yuuji, he wants to be apart of you sometimes and never let you go

[v-arbellanaris]

u know what actually im gonna make one last srs post abt this whole thing and then im doneeeee i swear lmfao, so all of the anons in my inbox can finally shut up and fuck off and i'll put it under a cut so i dont ~ruin your da4 hype~ the way youve fucking ruined mine i guess.

watsonian justification for this: "decisions you made 10+ years ago in another part of the country simply will not affect the current story". hey isnt the entire story behind veilguard that a guy has been working for the last 10 years to rip down the veil. like. is the whole thing not a story that started 10 years ago. do you not have access to the eluvian network now because solas stole it 10 years ago from briala. is the blight not around because of the evanuris in some way. isnt the entire magisterium something that's been in place for thousands and thousands of years. like even within the context of da, the entire story revolves around things that happened thousands of years ago that have shaped the world that our characters exist in today. we, ourselves, as real people, don't live in a world where things happening on one side of the planet do not affect anything else. and that's not even touching on the fact that we have companions from the first game showing up. at the very least decisions that affect them directly should have been factored in????

doylist justification(s) for this: #1 "we only wanted to include worldstate decisions we could develop reactivity to" so the only decisions were.... whether or not solas is romanced? for me, it's the way that when you're playing dai, the entire justification for NOT being able to romance him as anyone other than lavellan is that you can have a deep and important and complex relationship with him even if you dont romance him, the fandom is always going on & on about how important friendship!solas is and how it shouldnt be underrated but the moment his ENTIRE CHARACTER (and ours?!) gets boiled down to whether or not you had a romantic relationship with him, we're going to celebrate it??? really??? REALLY??? what in the fucking amatonormativity is this, and how is this a step BACKWARDS from dai for solas???

#2 "the world was too complicated so they wanted to simplify it for new players" that's literally the problem we're discussing. the problem we're discussing is the complexity of the world, and the solution bioware came up with for it is to simply scrap it all, and surprise surprise! not everyone is happy about it??? you are just describing the problem that the solution fails to address???

i think the most annoying part of this whole thing is the fan response to it. literallyyyy am seeing things like "no one ever complained about the worldstates not mattering in the next games before da4" which is NOT TRUE. ever since i JOINED this fandom, i've heard so many things about people complaining about leliana defaulting back to a hardened state in dai, about alistair's characterisation in dai, about cullen's repeat appearances, about your boons/decisions in dao not carrying forward in the next games. people HAVE been complaining about it, for ages, especially in dai. it is explicitly a problem in dragon age, and has been for a long, long time, and the problem has only grown the more complex the worldstate becomes. that's why they tried to address the problem here by simply scrapping it all. i've also seen things like "well if youre only interested in callback references, this dragon age game not for YOU" which not only minimises and dismisses the issues and feelings at hand here, but also reeks of self-righteous, smug superiority of I Am The Sole Correct Enjoyer. who is this game for, if not for people who love dragon age?

i'm not here for rook's story - i'm here to save the world that i've built with my own two hands over three games. i am doing that through rook as a character, yes, but i have no cause or reason to care about rook at all going into this game except for the basic fact of this is my character that i am playing - rook is a character that i expect playing the game will make me invested in and care about them. but you know what i already cared about before going into veilguard? you know what i've saved three times over already, potentially even at the cost of my own life? thedas. MY thedas. OF COURSE I WANT TO KNOW THAT IT MATTERS. in world, solas himself wants to know what changes his actions wrought. THOUSANDS OF YEARS AFTER THE FACT. why is everyone acting like fans are insane for this????

i, for one, have not complained about the game "ruining" origins or da2 or even dai. i was excited about the changes, because changes were evidently necessary. i have been fully prepared for the differences, even if i've been apprehensive or cautious about it. do you think i'm disappointed now because i hate dragon age??? where do you fucking get off saying this game is not meant for me? because i dont agree with how bioware has chosen to resolve this issue, suddenly these games are Not For Me anymore?

and you know what, i already know they're not for me. the way this series, and this fandom, treats people of colour, and characters of colour, i am made aware every single day that dragon age is not for me. these games are for the liberal white girlies and white queers living in the west. i know damn well these games have never been for me, and any insistence that it should consider me will be met with vitriol and viciousness. and guess what? i am still here.

i was sooo ready to let this go until the fandom just kept acting like ppl are idiots for being unhappy about things AT ALL in da4. its so fucking annoying to me. i'm NOT going to complain about every single little thing in da4 possible, but i'm also not going to act like bioware is going to do and is doing everything right. what is WITH this fandom and extremes of thought and behaviour. is it because you're all american??? like. i'm actually so sorry that you live in a black-and-white world with no complexities or nuances because it must be so boring and sad.

in my opinion, i would not have minded slimming down the narrative choices to a select few that they could really hone in and focus on. i feel like the dragon age keep decisions can be a bit arbitrary, and i would've loved to see like 5-6 key decisions per game, ORRRR even for your worldstate to boil down to something like whether or not you generally supported positive change or upheld the status quo per game, and then specific character decisions regarding the inquisitor to be brought in, since they're the pc that actually shows up. i do think there's likely a lot of chaff that can be cut off or simplified as a sort of "lost to the times" kind of narrative telling. but boiling down these games to three fucking choices that are ultimately just 'did u romance and like solas or nah' is fucking INSANE. why is the answer to the issue of the quantum - which has been an issue for a long time!!!!!! - to just... scrap it entirely???

edit: adding this here since i said i wouldnt make any more posts abt this topic but i rly find it laughableeeee when fans eagerly parrot bioware insisting that just because those choices dont matter in THIS game doesnt mean they'll never matter in a FUTURE game (i guess we can expect the next one in 2034?). if they already scrapped those choices for this game, and you're all still buying it (some of you??? PREORDERED it???? i thought we agreed not to do that???), why would they bother. do you think the next dragon age game wont have the same line of logic for 'we need to make it accessible for new players!!!!!' that they had for this one and for dai? how willfully stupid are you that you think I'M the stupid one here?

im happy for you guys tho! i hope the new dragon age game where theyve removed all of those complexities instead of making ANY effort to address ANY of the existing dissatisfaction around feeling like any of your game decisions mattered supports your existing brainrot so you can continue believing in a black-and-white reality. really glad theyve simplified it for you guys just like you wanted into 3 choices all about sola/vellan.

i'm going back to my own sandbox, as epler has instructed me to, so i can ~imagine~ my own thedas lmfao

[sleepingdeath-light]

relationship hcs ; jax

requested by ; anonymous (26/10/23) & anonymous (27/10/23)

fandom(s) ; the amazing digital circus

fandom masterlist(s) ; here

character(s) ; jax

outline ; “i'm so excited you're doing requests for TADC!!!!! do you have any general dating hcs for jax?”

&

“I saw that you now do The Amazing Digital Circus requests!

Soooo how about Jax relationship headcanons?”

note ; characterisation may be shaky as we only have the pilot episode out so far

warning(s) ; canon typical asshole behaviour from jax, mostly fluff!

first and foremost, jax is an asshole and that will not change when the two of you start flirting or when you become an ‘official’ couple — he’s not outright malicious towards you anymore, sure, but he’ll keep on teasing and messing with you at every opportunity (he’s also very unlikely to apologise unless he feels like you’re genuinely upset with him and he can’t sweet talk his way out of it)

pranks and teasing are a big part of your relationship, especially if you’re able to match his mischievousness — whether that’s him leaving things in your room for you to find later that he knows will startle you, using nicknames for you that are more amusing than intimate (e.g. something poking fun at your avatar’s height, an inside joke, or just generally teasing you for something you’ve done in front of him that he refuses to let you live down)

he’s a massive flirt and always finds a way to work around caine’s rules and regulations — he leaves just enough unsaid to get the real message across and absolutely loves watching you process what he’s said and then get flustered or frustrated once you realise what he really means (even if you playfully smack him on the chest or arm because it’s more than worth it for him)

physical affection with jax only really occurs on his terms with very few exceptions — such as when he wraps an arm around your shoulders and pulls you against his side, or (if your avatar has hair) when he messes up your hair right after you’ve finished the introduction song — the main exception to the rule is if you’re really not doing too well and need to be grounded or comforted because of it (i.e. you’re experiencing a mental break due to your circumstances or are starting to get close to the point of abstraction for whatever reason — he might be an ass, but he cares and he doesn’t want to lose you)

during caine’s missions he generally prefers to hang out with you if possible, whether that means going off and doing your own thing, watching the inevitable chaos unfold from a safe distance, or actually participating (usually because you’re bored and he just wants to see funny things happen to people) — but that doesn’t mean you’re safe if he decides he’s bored, and he has on several occasions pushed you straight into the ‘line of fire’ of whatever you’re meant to be fighting just to see what you’ll do

(he wouldn’t do it if you could actually get hurt, mind you, but as you’re all physically safe no matter what you’re facing he’s willing to take the risk and the time in the ‘dog rabbit house’ for a laugh)

you’re just about the only person he’ll listen to if ever you tell him to ‘tone it down’… but only for a short while — yeah he can stop teasing pomni for ten minutes to let the poor jester get her bearings, and sure he’ll lay off the bugs in ragatha’s room for a week, but things always return to normal after that because he’s remarkably stubborn, a bit of an ass, and endlessly amused by the ‘suffering’ of others in the circus

if a new character or npc tries to flirt with you then he’s going to go from sassy and sarcastic to outright malicious — more openly so if it’s an npc (at least until caine gets the hint and decommissions them) but if it’s a new character trying to intrude on your relationship then he’s going to make it explicitly clear that (a) you’re taken, (b) you’re exclusive with him, and (c) he will make their time in the circus even more unpleasant if they continue down that path (especially if it’s actively making you uncomfortable in addition to just being disrespectful)

(he might not be able to cause them any harm, but he has keys to everyone’s room and little regard for the safety of others during ‘missions’ so he’s more than able to make them regret flirting with you if he wants)