#in any meaningful way but it does what it can because it wants to show the sun that it has noticed and it cares and it loves

[1moreff-creator]

What are some dynamics (in terms of like, foils/parallels) that you enjoy in DRDT?

you’re staring at a forest and asking me for every tree i like. do you want me to write another 28k word post /lh

I jest, of course, but not about the number of interesting foils in this series. It does a fantastic job tying everyone into several key themes in ways that make their dynamics endlessly enriching for my silly little character parallel-loving brain. So, uh, get ready for a long-ish post?

CW: One mention of self-harm, self-loathing

Teruko-David: I mean, you gotta start at the center, yeah? David’s the closest thing to a “main antag” we have, and it’s no wonder; the guy’s built like a standard DR protag, obviously he’s gonna have a cool dynamic with the actual protagonist. 

These two could breathe a bit weird and somehow parallel each other doing it, that’s how much this foil permeates both their characters. From their fatalistic outlooks on the world (“my luck will always be terrible, I’ll always be betrayed” vs “people can’t change, the world sucks”), the ways they hide their feelings (Teruko was more distrustful than she first presented herself as, but cares about people more than she shows during most of CH2; while David has an entire different persona up to 2-11 and then pretends to be worse than he actually is), the self-loathing (Teruko refuses to think she could be a good person, David has the whole “inhuman” thing going on), down to the oddball sibling figure (Terubro “I know nothing about you” Tawaki vs Diana “I’m not even sure you exist” Chiem).

There’s their feelings about Xander and Min, too, which are all over the place. Obviously we all saw in 2-12 how much the British twink fucked both of them up severely, with Teruko rejecting any positive or yearning feelings she may have had about Xander (you can’t hide the cactus scene from us girl) while David vehemently defended him from any criticism. On the other side, Min is less of a narrative poltergeist (for now; XF-Ture exists), but she still comes up with them, with David calling her pathetic eleven episodes after Min hugs Teruko and Teruko’s internal monologue gives away how much she cares about the Student. 

And these parallels play into their weird-ass dynamic very well, because their beefing is founded on their similarities and their differences, out of projecting their self-loathing to someone similar at the same time they hate each other because of their disagreements on things like Xander. Crazy stuff.

Xander-Min: Mentioning these two second because they’re also Eternal Parallels. There’s almost not a single thing about these two that isn’t somehow reflected on the other. If you projected them onto each other’s direction, you would get no perpendicular component. Get it, ‘cuz they’re completely parallel- That is, by far, the nerdiest joke I’ve ever made, I apologize.

But come on. Their attitudes towards fate (the Rebel fighting it and Min resigning herself to the XF-Ture thing), the whole “holding on to the past vs wanting to move on from the past” thing, the similarities between how they actually feel about the education system (they have issues with it) contrasted with the things they actually do in respects to that (Min is still the Ultimate Student, but Xander dislikes that), their already mentioned contrasting connections to Teruko and David… Just, absolutely everything about them is a meaningful contrast. And it comes into play a lot, with their eternal beef being born largely out of these parallels. They’re awesome.

Teruko-Ace: Pretty topical for post-CH2. Ace’s entire arc is sort of a reflection of Teruko’s, yet taken to the extreme because of one particular point of contrast; Ace feared death, Teruko doesn’t think she can die. But he still basically serves as a demonstration of all the flaws in Teruko’s all mindset; the feeling of unchangeable fate, the complete lack of trust, all the good stuff. It basically allows an exploration of Teruko’s mindset from an outside perspective, which makes it easier to see the flaws in it.

Ace-Nico: Also topical, these recap foils go kinda insane. Their motives for murder, their contrasting talents (love for animals on Nico's side and fear of horses on Ace's), the way they relate to the rest of the cast, Ace's persecution complex vs Nico actively disliking how much Hu defends them, etc., it’s all very fun to see play out. 

Ace-Levi: The one who doesn’t care but protects others and tries his best to be a good person so he can be accepted in society without having issues, vs the guy that acts like an asshole because he’s scared of caring too much and he thinks the only way he can get out alive is by being the only one to survive. This leads to a fundamental misunderstanding between them that causes some of the most doomed yaoi of all time, which is the whole “Levi getting frustrated at not understanding Ace.” 

Arei-David: You’ve presumably watched 2-13, so I don’t think I need to explain all the awesome stuff that’s come from their shared themes of “good people” and self-betterment and all that. Not to mention, David’s little breakdown over Arei trusting the letter of the only friend she had being presumably born from the way he saw Xander as the only friend he had. Shit goes crazy.

Arei-Eden: Recap foils… Good people… The choice to be kind… Etc… Woah :O

Teruko-Charles: Ah, Teru’s recap foil. This one’s basically opposite of Ace’s, where Charles used to be sort of like Teruko acted in CH2, but later became a bit friendlier, if still somewhat prickly. Basically, if Ace highlights Teruko’s character traits from CH2, Charles post CH1 serves as more or less the “end goal” in a way. It goes beyond that, too, with the whole memory issues (prosopagnosia vs childhood amnesia) and, again, mysterious siblings (Terubro and Elliot what are your deals), so it’s always neat to rotate these two in the brain.

Veronika-Levi: We really don’t know too much about Vero, which always makes it a bit harder when analyzing these dynamics, but they already got some interesting points of contrast. Neither of them are particularly concerned about the deaths of the others, at least post-CH2 (Levi doesn’t grieve and Vero actively laughs at Ace’s death), but it comes from almost opposite ends of perspective. Levi doesn’t understand others because he doesn’t feel much empathy (if any at all), while Vero seems to treat the others not as people, but almost as characters to be analyzed (that’s the impression I get, at least), which makes her come off as very good at reading people but also occasionally causes her to see them as sources of entertainment first and foremost. Not to mention there’s also the fact they’re both very different people than they were in the past (Levi was some form of delinquent and now is a good person, Vero used to be outdoorsy and then no longer was). Wow that’s… more than I thought there was- How am I finding more interesting foils just by writing more???

Hu-Levi: I kinda talked about this in my CH2 PT2 analysis so read that ig.

J-Rose: A pair of recap foils who haven’t had too much yet, but a lot of their themes, in particular about fate and privilege and stuff, are pretty noticeable with them, so this is always a fun dynamic to consider.

Levi-Arturo: More recap foils, this one’s fun because of the dead family member :) Also things like their talents being related to aesthetics and both doing the things they do for a better life.

Veronika-Hu: This one’s kinda more hypothetical, since Vero in particular hasn’t had as much direct focus as other characters yet, but that’s part of what makes them fun. Past history of self-harm (even if brought on by very different feelings) is just the first of many parallels they could have, and it’s fun to see the contrast between Hu defending Nico to the ends of the Earth and Vero talking about how much she likes Arturo because of how awful he is. They’re really silly.

David-Whit: All the recap foils are fun, but I've always struggled to see this one in particular. Partly because I feel like I know less about Whit than I know about Mai :v Still, certain things like Whit ignoring anything that upsets him which connects to David constantly lying about his real feelings for his fans, which is probably what leads to David's outburst at Whit in the second trial.

Teruko-MonoTV: Because fate. Really this is here plainly because it’s just a funny as hell dynamic to even consider lol.

Teruko-Mai: Have they interacted? Has Mai had enough screen time to truly determine that this parallel truly exists? Do we even know a single theme that Mai’s character touches on for certain? No and it doesn’t matter! Because these two are clearly connected somehow and the whole “someone dearly loved - someone dearly unloved” thing makes me ill. Mai is getting mentioned in this post and you're not stopping it.

Mai-Whit: Fuck it! “We tend to idolize the dead” dynamic!!! It's very speculative, but this one’s just fun to ponder even if we have even less idea of what could be going on between the two than with Mai-Teruko.

Anyways ready for a few themes that run through a lot of characters?

David-Levi-Nico-Rose: The “feeling disconnected from the rest of humanity’s experiences” gang!!!

Min-Rose-Hu-Veronika-Arturo: The “wants to move on from the past” gang!!!

Min-Arei-Teruko-Ace: The “trying to fix mistakes” gang!!!

Teruko-David-Eden-Arei-Levi-Xander: The “what makes a good person?” gang!!!

Teruko-David-Xander-Min-J-Whit-Ace-Rose-MonoTV-Probably everyone else: Fate!!!!

And there’s more than I’m probably forgetting because I can’t possibly check every conceivable connection between these guys. At least I hope I covered most of the major ones. Thanks for the ask, these dynamics are always fun to think about!

[chill4234]

Things that I know.

1. Yaoi is the opposite of yuri

2. According to tumblr, yuri seems to be just about anything, but I have most commonly seen it take the form of two inanimate objects in close proximity to one another. Eg minecraft furnace and crafting table, trains crashing into each other, etc.

Therefore, we can conclude that Yaoi is two inanimate objects that are very far apart from each other. The sun and the earth are yaoi.

[transmascutena]

thinking about how akio sees his younger self in utena and wondering if there's any fondness there. doesn't change the horror of what he does to her obviously but i do wonder

[lemon-boy-stan]

Genshin men NSFW headcanons

Smut. Headcanons. FEATURING: diluc, kaeya, childe, dottore, xiao, wriothesley, neuvillette x reader. WARNINGS: breeding (diluc, zhongli, wriothesley), size kink (diluc, childe) CNC (kaeya), exhibitionsim (kaeya), knife/sword play (kaeya), monsterfucking (childe, zhongli), sex films (kaeya), corruption (dottore), dumbification (childe, dottore), dollification (dottore), objectification (dottore), torture (dottore), cum play (xiao), size kink (diluc, wriothesley), face riding (xiao), thigh riding (xiao, wriothesley), cock riding (xiao, wriothesley), handcuffs (wriothesley), toys (neuvillette), oral (neuvillette)

MINORS DON'T INTERACT ISTG.

DILUC

Ever since you've been in a relationship with Diluc, he's always been a service top.

Diluc also fucks to make love. Sex is meaningful to him, unless, of course, when he's angry or jealous.

He's a dom, and enjoys being in control, but also enjoys worshipping you.

Diluc only wants to make you feel good

Although he is a Pyro character, so sometimes he might get out of control

When he's really angry or really turned on, his eyes flash dark red.

Diluc is often vocal in sex. He groans alot, sometimes moans, and is always praising how well you're doing for him.

He's always had a breeding kink, but since your marriage, he can't get the idea of kids out of his head.

Diluc also adores the fact that you're so much smaller than him.

Every time he stretches you open you still squeal because he's too big.

He's drunk with how you make him feel, and he knows no one else would ever make him feel this good.

KAEYA

Switch but mostly Dom.

A mean one at that.

He enjoys things like CNC, knife play.

Seeing you squirm beneath him just gets him harder.

He does enjoy to sub sometimes, but you're never completely in control.

Kaeya is also an exhibitionist.

If he gets jealous, he'll fuck you infront of whoever made him jealous; maybe his brother or another knight.

In a modern au, he'd defineltey enjoy making sex films. He'd just love having videos of you all fucked out on his phone, cockdrunk.

CHILDE

Childe is a top, even more cruel than Kaeya.

Unlike Diluc, Tartaglia fucks to fuck.

He has alot of pent-up stress from his job, and he needs to let it out somehow.

What better way than his pretty little traveller?

Tartaglia loves seeing the fear in your eyes when he backs you up against a wall.

He loves how you suck his cock in so well, taking it every time even if it hurts.

Childe is often scared that one day he may hurt you in his foul legacy form.

He disagrees with the idea at first, and it takes a lot of convincing.

But one day, when he's turned, he can't resist you

He is ten feet tall, and his cock is fifteen inches.

He's a bit like a dragon in where the idea what's his is his.

In his foul legacy form, Childe's voice has you under a spell where you do anything he says.

DOTTORE

Dottore is a sadist.

You're just so innocent, and you just love him so much, he can't help but use you.

He loves your pretty blonde hair, and how lost and dumb you are for him.

You're such a good little doll, better than any of his creations.

He'd only ever fucked his creations before, but when you joined the fatui, he knew he felt something strong for you, something warm and different.

While he enjoys torturing you, in his own way, he's showing how much he loves you.

There's only the best for you, the best treatment, the best gifts.

Dottore loves how you're still not used to his fingers, his kisses, his touches.

He loves corrupting you, making you even more obsessed with him, almost brainwashed from his cock.

Maybe one day he'll put a concoction on you, give it to you to drink.

XIAO

Xiao is a major switch who loves to worship you.

He loves being inside you. He gets antsy alot when he isn't.

He's got a high sex drive, so you can count on alot of sex.

He also has the prettiest, sexiest moans.

Xiao loves making a mess of his cum, covering your body in it.

Xiao loves when you ride his face, his cock, his thighs. He can't get enough of it.

He loves you cumming on him, not being able to stop yourself.

Sometimes he'll have his hand wrapped around your throat if you talk back too much.

He also likes somnophilia. Once, Xiao saw you sleeping, and he just couldn't help yourself. And when he heard you moaning in your sleep, it became his new obsession.

WRIOTHESLEY

Wriothesley is a big believer in handcuffs and punishment.

He has many rules, and many repurcussions.

He likes having you helpless, being obsessed with him.

He's a former boxer, so he's very strong

He often manhandles you unintentionally, and his grip is so tight it often leaves marks.

If you're bad, he will cuff your hands behind your back. No exceptions.

He loves how tiny you are, how big his cock is compared to you.

He loves fucking you in the ass, it's his favourite thing to fill you up from behind.

He loves seeing you bounce on his abnormally large cock and his thighs.

Most importantly, he's obsessed when you shove your head into his neck, mewling at how good he feels.

NEUVILLETTE

Neuvillette is a switch who mostly enjoys subbing, and when he doms he likes being on bottom too.

Neuvillette loves when your mouth is around his cock. He'd never had any kind of sex before, and as soon as he felt you around him, he was obsessed.

He loves when his nipples are in your mouth. They're so sensitive, that he's squirming and gripping the bedsheets.

He loves being overstimulated, even if he's on top. When he cums so much that he can't anymore, his voice always breaks and he always starts crying because of how good it feels.

He loves when you use toys on him, he's a pillow princess. Vibrators, plugs, strap-ons, you name it.

He loves to shake of orgasms, and making messes all over you.

ZHONGLI

Zhongli has never had sex with a human before

But with you, he just couldn't resist.

He had to mate with you, make you his.

Don't you know dragons don't share their belongings?

Your scent was just... Different to him than anyone else. Special, perfect.

When he gets jealous, he half-turns into his form, his arms turning black and golden, horns growing on his head, tail forming behind him.

He uses his tail to keep you in place.

Sometimes, he makes you drink the ichor he bleeds, coaxing you into it, purring how much he wouldn't be able to live a lifetime without you.

He's obsessed with breeding you, as dragons mate for life.

Zhongli sees sex as something necessary, and is able to track your cycle by scent. He knows if you're on your period, when to fuck you, when to make love with you, and he knows if you're carrying his children.

GENSHIN IMPACT MASTERLIST

NAVIGATION

[cloudedgalaxies]

ANYWAYS Idiyuu is Hades and Persephone conspiracy:

Persephone is not from the Underworld. She is called back to the Mortal Realm eventually because she has to return. Yuu is literally from another world. They are not suited to Twisted Wonderland, and are nothing like Idia has ever seen. They have to go back eventually.

Hades is probably one of the few TWST boys to have a “canon” spouse (at least in Greek mythology, which Hercules’ Hades is obviously based on). On top of that, Hades and Persephone is the love story between death and life, isolation and abundance, ending and rebirth. Idia is a gloomy, pessimistic boy who has been condemned to be the keeper of the Underworld. Yuu is a kind, gentle prefect who has been there to help and has helped everyone they know, again and again. 

Night Raven College has been in a ‘winter’ for all of its history. Everyone is hostile to everyone, no one wants to cooperate or work together, and every single person there has some ulterior motive. In comes Yuu, who is a breath of fresh air. A new perspective. A new season. They bring ‘spring,’ showing people that they can bloom. They can harbor feelings that aren’t cruel. They can do things that aren’t harsh. And slowly, they start to thaw. Flowers of friendship and something gentler bloom. Yuu is there to help pull the boys from their darkest moments to see the light again. Idia is no exception.

I think that the way Book 6 was set up makes Idia and Yuu seem a lot more meaningful honestly, though I'm probably reading way too into things lol. Yuu originally goes to the Island of Woe to save Grim. They don’t particularly care much about what’s going on with Idia—they just want to get Grim back. But then later, once they realize what’s going on, they do. There isn’t much, if any, personal connection to Idia’s overblot like there was with all the others. Yuu doesn’t have to do anything to help. And yet, they still do. Even after Idia basically kidnapped Grim, they still help him. They still try to end his winter.

Persephone, in many forms of the myth, didn't originally go to the Underworld willingly. But eventually, she came to love Hades, and they were happy together. Idia and Yuu have no reason to care about the other at first. But they eventually do, after everything that happens and everything that brings them together.

Hades and Persephone are in a constant push and pull. Persephone has to leave because if she stays, winter will never end. She does not want to leave, because she loves Hades. Yuu has to leave Twisted Wonderland, because they have a home beyond it that they need to return to. And yet, they don't want to leave because they love Idia. Idia doesn't want them to go, because it finally feels like spring again. But the seasons have to continue in their cycle, so what can they do?

Also, I think it’s really funny and really beautiful how Idia and Yuu’s first meeting was probably the Ghost Marriage event. This guy who thinks he has 0 rizz ends up having to be saved by some strange new isekai'd student and their gang of potential suitors before he gets his first kiss and promptly dies afterwards. Idia, the boy surrounded by death, is saved by the prefect who seems to be giving everyone a new chance at life. Imagine how poetic it’d be if Yuu and Idia end up getting married in the end, except now neither of them are going to die and they have the rest of their new lives together. There will be winter, but there will also be spring. The cycle of seasons will continue, but flowers will always bloom. They will always return to each other.

[luna-azzurra]

Do you have any posts with advice on how to write a kiss? I'm super unsure how to do this! 😅

Writing a kiss scene can be a little nerve-wracking, but the thing is to focus on the feelings between the characters and how the moment unfolds. It’s less about the actual mechanics of the kiss and more about the emotions leading up to it and what it means afterward. Here’s how you can write it in a more detailed and natural way.

First, set the mood. A kiss doesn’t just come out of nowhere, right? Think about what’s happening in the scene before they kiss. Are they standing close, but there’s this charged silence between them? Maybe their eyes meet, and there’s this unspoken thing, like both of them know what’s coming, but neither of them is sure if they should make the first move. Or maybe it’s more spontaneous, like they’re caught up in an argument or laughing together, and suddenly, it just happens. The atmosphere matters because it builds the tension.

Then, when the kiss happens, focus on their emotions and physical sensations. You don’t need to describe every single action in detail (like "their lips touched for exactly two seconds"). Instead, think about what each character feels in the moment. Maybe one of them feels a rush of warmth as their lips touch, or maybe their hands find each other’s without even thinking about it. Are their hearts pounding? Is one of them surprised, while the other has been wanting this for a long time? Adding in these little details can make the scene feel alive.

For example, instead of just saying "they kissed," you could write something like, "Her heart raced as he leaned in, his breath warm against her skin. For a second, everything seemed to stop, just the two of them, standing there. And then, finally, their lips met, soft and unsure at first, but full of something electric, something real." You see how it’s not just about their lips, it’s about how their bodies react, how time seems to shift, how the moment feels like more than just a physical action.

You also want to make sure you keep it natural. Don’t overcomplicate it with too many flowery words or try to describe every little thing. Kisses in real life aren’t perfect, so your writing doesn’t need to be either. What matters is how the characters are feeling in that moment, whether it’s soft and sweet, hesitant and nervous, or urgent and full of passion. Focus on what the kiss means to the characters.

And don’t forget about what happens afterward. A kiss can change things, especially if it’s their first one. Maybe one of them pulls away, smiling, not quite believing what just happened, or maybe they’re both breathless, unsure of what to say next. How does it affect their relationship? Does it leave them wanting more, or does it leave them confused? Showing how the kiss affects them makes it feel important to the story. In the end, it’s not about writing the "perfect" kiss scene. It’s about making it feel real and meaningful to the characters. Think of it as a mix of anticipation, emotion, and how their world shifts in that one small moment. That’s what will make it stick with the reader. :)

if you have questions or feedback on writing materials, please send me an email at Luna-azzurra@outlook.com ✍🏻

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[nariism]

wherever you are, wherever you may be — i. rin

soulmates (name au) + "i'm done waiting."

synopsis. itoshi rin meets you under a sky full of fireworks. he spends the next 6 years of his life trying to convince himself that he doesn't love you. you spend the next 6 years giving him every reason why he should.

wc. 12.4k (i need to close my eyes and sleep for a while)

notes. huge thank you to ellie (@hyomagiri) and mari (@saetoshi) for helping me with this 🥹 this fic actually put me through it and i'm so grateful to both of them for their support 💗

— for my beloved @ode2rin 💐 | event masterlist ✉️

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2024

Every year on the seventh day of the seventh month, Itoshi Rin finds himself standing at the daunting entrance to his local shrine.

The tradition is completely beneath him—something childish that he grumbles about under his breath despite letting you drag him all the way out here with soft eyes watching your smile.

Tanabata is the festival of stars. Of love.

It is a story his mother used to whisper to him as they watched the night sky in awe, pretending that the galaxy was collapsing in on itself to allow for a romantic midnight rendezvous between two lovers.

It’s something far too sappy for his liking.

But the food is okay, he supposes, and it’s a good opportunity to get out of the house and spend time with you which he seldom has time to do now that he’s back in his training season.

There were too many things about it that he loathed: the screaming children that would bump into his legs; the way his ears would stay ringing for days after the festival ended; how you could always convince him to come as if you were some sort of hypnotic devil in disguise, and how thoroughly wounded his pride would be at that fact.

However, his least favourite part of the festival by far is writing down his wish for the year on a scrap piece of paper and hanging it around a bamboo tree. One, because he can never for the life of him think of anything meaningful to wish for. And two, because he isn’t sure he even believes in that sort of thing.

Rin is struggling again this year, pencil lightly scratching his temple as he thinks.

He’s painfully aware that he’s never put so much thought into this before, but you seemed so excited to come all the way here before heading to the festivities that he couldn’t possibly let you down.

His wish dawns on him then, something he wants to do before the next time he makes the climb all the way back up here 365 days from now.

“Hey,” your voice calls out quietly. “What did you wish for?”

“What did you wish for?” Rin quickly refutes.

You cast your narrowed eyes from the side, tilting your little slip of yellow paper away from him.

“Only if I get to see yours first.”

Normally, he would give in to you right away. His resolve when it comes to you is embarrassingly weak. But there’s no way for him to explain himself. No way he could show you the words he’s written lest he hurt his ego.

He stubbornly folds up the piece of paper and shoves your face away. All you do is laugh and he feels terribly warm.

“No peeking,” he tells you when you kiss across his fingertips.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2018

A name appeared for Itoshi Rin when he turned thirteen years old.

He remembers the day well—it was hard to forget, anyway. As much as he wanted to focus on the burning of the name etching its way down his skin, he couldn’t. Not when he was blinking snow out of his lashes and watching his brother’s retreating back.

Rin likes to think that the universe fucks with him in any way that it can.

Maybe he had done something terrible in his past life and this was its karmic retribution, or maybe he was just unlucky.

What he does know is this: the name on his pinky only reminds him of all the things he ever lost.

Every syllable struck needles into his heart—a painful memory of crawling after the tracks of the wheels Sae left behind with his luggage until gravel and ice were stuck under his nails. Or worse, the clawing of his throat as they sat across from each other at dinner—the way he didn't even smile when Rin announced to his parents that his soulmate mark had appeared while his mother cried out in joy.

In fact, Sae didn’t talk to him for the rest of his visit. He remembers that hurt the most.

The name had haunted him for all the remaining years of his life—a forced memory that he wished he could forget. There came with it a feeling of loneliness that crushed him despite the proof on his pinky that there was another soul wandering the earth that would fix him.

He refused to believe it.

Only revenge would fix him. Only proving himself better would heal the cracks in his heart. Only beating Sae. Sae, Sae, Sae. His brother’s name had been repeated so many times that it was easy to ignore the other burning his skin.

In all those years he found it easy to cast aside his soulmate. To ignore it even if it hurt.

So he wonders why it’s so bad tonight.

He’s done everything he could think of: slathering cooling ointment down his finger to stop the searing, wrapping it in a cast to prevent himself from admiring it for too long, even tying a wish to a piece of bamboo hoping it would disappear.

A finger snaps in front of his face, drawing his attention to his teammates in front of him. Both look equally amused.

“You’re dreaming,” Isagi muses. “You’ve been spacing out all night. Is everything okay?”

“I’m fine,” Rin mutters, swatting his teammate’s hand away from him. He had been staring again, longingly eyeing the way the letters danced down his skin. “Just thinking.”

“About?”

“None of your business.”

“Yeesh, it’s not good to keep things bottled up, you know?”

“You’re annoying,” Rin glowers before it melts back into indifference. “I’m fine,” he reiterates.

Isagi seems unconvinced, as he usually is when Rin is being mysteriously vague about what’s on his mind. He and Bachira share a tentative glance before sighing and shaking their heads.

“Well… okay,” he finally yields. “We’re going to get some snacks before the fireworks start. If you’re going to sulk then at least stay put and do it here so we can find you again.”

“Yeah,” Rin grumbles, already making an escape plan. “Whatever. Will do.”

As soon as the boys are out of sight, he turns heel and hurries away. The crowd is driving him crazy and he needs somewhere quiet so he can stare at his hands until his eyes are dry.

He comes to a pond situated just outside of the festival grounds, deep water glimmering under the moon and the passing lanterns.

Plopping down on the bench, he hunches over onto his knees with his elbows and takes a deep breath. It instead comes shallow, as if someone has just punched him in the gut. 

It’s then that he realizes he’s not alone.

Your yukata is muddy, fabric soaked and dripping at the sleeves though you don’t seem to care or even notice. You look frustrated for some reason, lip curled into a concentrated frown while you plunge your hands into the mud around the edge of the water.

Away from the crowds of people, he can hear the summer song of cicadas chirping all around. Your hands dip in and out of the water, quiet splashes filling the rest of the silence on top of the distant buzz of children laughing.

It’s just you and him. Something primal inside of him rages, pounding against his chest until it feels like he’s suffocating.

Run. Run. Run.

His legs jerk, urging him to stand up and leave, but he feels glued down to the bench—tethered where he sits and forced to watch you repeatedly sink your hands into the muddy waters.

No more than five minutes must pass as you both ignore each other, yet it feels like an eternity stretches by. 

Finally, you pipe up.

“You’re scaring them,” you tell him plainly.

His head whips in your direction at your voice, soft and careful. His teal eyes narrow at you. “Huh?”

Your frown deepens, turning to look at him with your hands still submerged. “The frogs.”

“Come again?”

“Your vibes. It’s scaring the frogs away.”

His eye twitches.

“Ever consider that you’re just dogshit at catching them?”

“Excuse me?”

“And look at you, making a total mess of yourself. Don’t you care that you have to go home looking like that?” He presses, leering at you like an insect he’s about to crush under his heel. You simply stare at him, expression blank.

Huffing, you tear away from him and sink your hands beneath the mud. “No. I don’t.”

He watches in silence as you sift around for a moment before pulling your hands up, a smile slowly morphing into your face.

“I got one…” You breathe, looking more elated than he thinks you should. “I really caught one.”

“First time?” He quips sarcastically. A part of him wonders why he hasn’t gotten up and left you altogether yet.

“Cut me some slack,” you complain, eyeing him from the side again. You gently run a finger along the back of the frog, trying not to scare it away. “I haven’t done this in forever.”

“Clearly.”

You snort. “Yeah. Clearly.”

Rin looks at you quizzically, puzzled at your sudden change in demeanor. You seem… softer. Less agitated, at the very least. You’re gazing at the frog adoringly, as if it had somehow solved all of your problems and was dragging you into another world.

Any retort he had ready to shoot at you dies in his mouth. The anger rising in his chest extinguishes in the blink of an eye, and a deep hush settles over you as he watches in curiosity.

For a moment, the universe goes quiet. He’s gotten so used to having everything on his mind all at once that the silence is almost unnerving.

He once believed that his world would end with an injury that never healed quite right, or when he was too old for any team to want him.

He once believed that his world would end when he could no longer imagine the feel of a ball between his palms.

He once believed that his world would end the day he couldn’t play football anymore—that the only thing that would ever kill him was if the chance of standing alongside his brother died with him.

But he was wrong.

Itoshi Rin’s world ends with the bellow of a firework.

In a few years, he would think of this stretch of a few seconds fondly. He would squeeze you a little tighter with his chin resting on your shoulder, staring up at a colourful sky. He would think it was poetic, in a way, that you were the one who painted his world in the same hues of shimmering gold.

Rin remembers, though, that only one thought had crossed his mind.

I’m so screwed.

He can see every fine detail of your face, illuminated in all the colours of the rainbow. And he can’t help but think you are the most beautiful person he’s ever seen. He can trace each intricate curve of your nose to your chin to the surprised parting of your lips; the way your lashes flutter as you blink rapidly, tensed from the sudden explosion.

The light fades faster than it appeared, yet it feels like a millennium has passed. The reverbing echo of the firework crackles across the sky, thundering in his ears so loud that he can feel it pounding in his chest.

(Or is that his heart? He can’t tell. He feels dizzy.)

Darkness envelops your bodies again, save for the dim glow of distant lanterns. Every part of you is seared into his memory, a floating image when he blinks.

The frog leaps from your hands back into the water, leaving nothing but ripples behind.

You stay there with your hands outstretched, looking lonely under the dark sky. Another one goes off above your heads, signalling the start of the display.

“There you are, Rin!” Bachira and Isagi come rushing over from the path, excited smiles and mirth bubbling in their laughs as they approach. “We thought you went home without us already!”

Rin slowly blinks out of his reverie. For a second, he glances in your direction again just to catch your eyes. 

“I almost did,” he grumbles, forcing himself not to stare.

“Fireworks are starting!” Isagi yanks Rin to his feet and begins dragging him away before he can even protest.

Without turning around, he can feel the weight of your eyes in the back of his head. There’s an unfamiliar ache in his chest, and the name etched down his pinky burns infinitely hot.

Later at home, he stares at the spot where Sae used to sit back when he still came to Japan for anything other than to take a new passport photo.

“My soulmate’s name showed up,” he had mumbled that night to break the tense silence. It was strange that he still felt like he owed his brother that much—to make his visit as normal as possible despite having his heart carved open.

Sae only looked at him blankly, spoon halting just above his bowl. He was eerily still, quietly deciding how to react. Then,

“Good for you,” he said. And nothing more.

Rin squeezes his eyes shut and he feels warmth rolling down his cheeks. He quickly wipes the tears away, pretending as if they never existed.

He spends the rest of the night trying to forget your face.

(And the next year trying to recreate it in his dreams.)

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2019

Rin makes it another 275 days before he finally remembers every piece of the puzzle that is your existence.

He saw you in his sleep. The back of your head, anyway.

You were sitting in his favourite café, at the table he claimed for himself right by the window. You ordered a coffee but let it sit for so long that the ice melted. Then, you wiped up the condensation rolling down the frosty glass with your finger.

Rin watched you from afar, observing you the way he wished he did last summer.

Maybe then he could have dived deep into the recesses of his brain to remember why exactly you struck him so. But there he was, stuck watching the back of your head as you gazed out the window.

Tap. Tap. Tap.

Your fingers drummed mindlessly against the wooden table, reciting a rhythm just slightly louder than the pounding of his own heart. 

“Can you leave me alone?” He finally called out, hoping it would stop your incessant beating.

Tap. Tap. Tap.

“You’re annoying me,” he hissed. Annoying for disturbing his peace and quiet. Annoying for plaguing his dreams even after all these days.

Tap. Tap. Tap.

“Seriously,” he grunted, standing up from his seat so fast that the chair scraped horribly against the wooden floor. Still, you didn’t pay him any mind, instead more interested in the faceless people walking by. “Knock it off!”

Tap.

Tap.

Tap.

He bit the inside of his cheek in hesitation, the itch in the back of his mind ever present. “What’s your name?”

Silence.

You finally turned his way. Slowly. Agonizingly slow.  And Rin was right—you were still so beautiful, 275 days later.

Grinning at him big and bright, you almost seemed to collapse in on yourself with joy. Like a star about to implode, or maybe more akin to a firework.

Either way, his breath was stolen from him.

You silently mouthed your name, making sure he saw every vowel and accentuated syllable. Warmth flooded him in every way—probably brought on by the racing of his heart.

It was impossible that his soulmate was someone like this. Someone whose smile looked like it could heal even the deepest wounds.

You grabbed his attention again with a big wave of the arms, and he watched in anticipation.

“You’re—”

Rin followed your mouth as you sounded out the words without a voice.

“—smiling!”

He reached up to run his fingers along his bottom lip. And you were right, he realized, as he traced it midway up his cheek.

(When did he start smiling?)

(Why?)

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

Rin thinks about you just as much in the waking world as he does in his dreams.

It’s spring, though snow is still settled over the eaves of homes that he passes on the way to the grocery store. Apparently the winter cold is supposed to be especially long and bitter this year, permeating until mid-May.

He stares at his feet as they mark the virgin snow, decorating his sneakers white and making his feet cold.

Did you walk through the same snow this morning?

Then, when he’s going through the motion of smelling the bottom of pineapples at the store:

Do you like pineapple? What if you’re allergic?

(He shakes his head and puts them away. He suddenly isn’t craving it.)

His obsession with you has only intensified as the year has gone on. If you ever peered into his mind, he would receive a well-deserved slap across the face.

The soulmate mark engraved down his pinky has never bothered him so badly.

It’s like you’re constantly with him—a ghost haunting him, or perhaps more like a curse. Thinking about you takes up unnecessary space in his head. Space that should be dedicated to football, and football only.

He's about to go home so he can make a list outlining the ways he can forget about you.

(Ironic, he knows, but in all honesty he already exhausted all of his options from his first list.)

But then he comes to a stop outside of his favourite café. It looks the same, even has the same advertisements plastered in the window as the last time he was here.

He hesitates at the door, but when he walks in it smells the same. It's decorated the same. Not a single table is out of place.

He walks up to his regular spot, runs his fingers along the wood where he remembers you tapping in his dream.

There's no sign of your existence here.

Rin shakes his head in annoyance, cursing himself out in his head because he was stupid enough to think he would run into you here.

Then disappointment floods his body, like a dam had been released in his chest and it's flowing unstoppably to every piece of him.

(Wait, why is he disappointed? He really needs to take a nap.)

He runs his hand through his hair as a nervous reflex, simultaneously relieved and irritated that you're nowhere to be seen.

It takes him a minute to recollect himself, to realize that he probably looks like a crazy person just standing beside an empty table like a lost child who doesn't know where to go, and decides to just go home.

He pulls into the line to get a drink for his walk home when—

"Thanks!"

His heart drops.

You waltz out of the back, tying your apron around your waist as you exchange spots in the break room with one of your coworkers.

Rin is about to die, seriously. You must be new here, since he's been to this café more times than he can count and he's never seen you before. Or was it that he was specifically looking out for you this time?

Whatever the reason, he's dumbfounded.

“Hey,” your acknowledgment makes him freeze in his spot. “Frog guy?”

He looks at you stupidly, rubbing his eyes like a cartoon character as if he’s imagining you standing right in front of him.

His gaze drifts down to your name tag, fresh and newly printed with white marker. Signed at the end is a little flower, petals swirled into tiny hearts.

Your existence before him is undeniable.

"Um. Yeah," he sputters in disbelief.

"I..." You clear your throat, looking as bewildered as he feels. "I didn't think I'd see you again."

'You're my soulmate. Of course we'd run into each other,' he thinks to himself. Out loud, though:

"Yeah. Me neither."

The person behind him in line coughs quietly, impatiently tapping their foot. Rin takes the hint and quietly tells you what he wants. You lean in across the counter to hear him better, and his face grows warm.

Once you fill in the boxes on the cup, you place it down and move it to the side for someone to fill. It catches his eye immediately.

Itoshi Rin is scribbled neatly down the side of his cup.

“How did you...?”

You awkwardly shift in your spot, evidently embarrassed as you fiddle with the strings of your apron. Then, with your own hands.

“W-Well…”

His eyes dare to drop down to where your thumb is nervously slathering up and down the name on your pinky.

“Oh.”

"Sorry, I just figured—"

"It's fine," he interrupts. Your mouth snaps shut.

Tense silence stretches thin in the air, ready to shatter at any moment. But for some reason, he feels as though he's choking on nothing.

You fumble over the emptiness, quickly snatching up the cup to make his drink yourself after deciding it's too awkward to just stand there.

He watches you in a daze, half shaken and half in awe. Never in a million years would he have thought a dream would lead him back to you.

When you turn back around with a full cup, you look equally stunned. 

“Itoshi—”

“Rin. It’s just Rin.”

You look at him in surprise, lashes fluttering rapidly as you let it sink in.

It's not your fault. You don't know that it's a sore spot that he just so happens to share the same last name with the person he despises most in the world.

It's not your fault that he has a quick temper and his voice raises slightly, enough to make you flinch back just a tiny bit.

And it's definitely not your fault that it stings so much—that he had expected you to speak to him as if you'd already known him for a lifetime and not as if you were just two strangers looking at each other from across a bar counter.

“O-Okay," you take a deep breath, cheeks puffed out and expression unreadable.

You slide the cup across the counter and he catches it in his hand.

He debates whether or not he should say more, like apologize for snapping at you. But then someone calls you by your name, and the way it rolls so beautifully off their tongue catches him off guard.

"Sorry. See you, Rin," you smile sweetly. Maybe a little awkwardly, a small step toward the one he dreamed about. And his heart is set in motion.

Rin decides that today won't be the day.

Another day, he'll be brave enough to crack a joke so dry that you try and scrub his name off your skin. And another day, he will ask for your number because, yeah, you might be the most alluring person he's ever met.

As he turns to take his leave after just staring at the spot you were standing in for a solid few seconds, he can hear some of the other baristas clamouring for you.

He doesn't want to look. Really, honestly, he doesn't. 

But he does anyway.

It's just a quick glance over his shoulder—nothing more than a fleeting moment as he takes the chance to look at you one more time.

Those two seconds is all it takes for him to realize just how much trouble he's in.

You're laughing big and toothy, waving your hand in front of your face dismissively as your coworkers poke fun at how flustered you are. Then your hands are clasped over your stomach and you've doubled down a little in your awkward fit.

His heart has never beat so loud in his own ears.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

Itoshi Rin used to smile just for the sake of smiling, once upon a time.

He had aunties who would pinch him by the cheek and fawn over him, cooing about how he looked just like his mother. How his face would cherub and the apples of his cheeks were bright red. Even when he grew out of his baby face, people would tell him how wonderful his smile was.

Sae rarely ever smiled, so it was something exclusive. He never felt like he was standing in his shadow. It was special—the kind of praise only one Itoshi would know.

Rin has forgotten how to smile like that.

He smiles to be polite to his family, if ever. Even then, it's not like he owes them that much. At some point, it became too much effort. And he had no reason to do it.

It was always a tiny thought bothering him in the back of his mind:

I'll never meet my soulmate if I'm always scowling like this.

He thought that was what he wanted, anyway. He wouldn't need to worry about running into his soulmate if no one ever looked his way. If everyone feared him enough not to spare him a second glance.

He doubts everything he ever thought as he sits on the edge of his bed staring at his desk.

It's lit up by a single lamp, shining down on his empty coffee cup like a spotlight opened up by the heavens themselves.

Your phone number is written just below his name.

Rin had almost tossed it into the trash without a second thought earlier in the day. He would have, if it weren't for the loose dog that blitzed by him and made him drop it.

Fate just loves to mess with him.

He picked it up and his thumb had stopped over the number. It was written so small, as if you had wanted him to miss it. Or perhaps you wanted to test destiny yourself—to see if the planets would align and he would discover your seven digits there for him to find.

And now he's home. He's been home, just looking. Contemplating. Stressing.

He migrates from the edge of the bed and settles into his desk chair. Then he gets up, moves back to the bed, and flops down. An endless cycle, back and forth, pushing and pulling.

Rin plops down onto his desk seat and sighs in frustration, ruffling his hair around before his forehead slams into the table.

Every part of his mind screams at him to stop. To toss the cup away and forget today ever happened. His head raises from his arms and he stares at the set of numbers illuminated on the paper, taunting him. 

Finally, he exhales through his nose, sitting up straight and reaching for the cup to toss. His fingers delicately brush along your phone number.

“So dumb…” He huffs, eventually finding his phone instead and opening his contacts.

It’s nearly midnight. He tries to imagine your face as you wait by your phone for a message from him, that stupidly hopeful glimmer in your eyes, and he feels sick to his stomach as he sends it.

Rin: hey. it’s rin.

He throws his phone down on the desk again, screen down so he can’t cringe at himself. A few minutes pass in complete silence as he sulks.

He considers that you may have gone to bed already, or you were offended by the fact that he ignored your offer to connect all day and instantly blocked him. Maybe you thought he never saw your number at all.

Then his phone buzzes. His body moves on autopilot, snatching it up faster than he can realize what he’s doing. He’s halfway through the embarrassing thought that he just immediately read your message after you sent it as your text sinks in.

Unknown: hi! it’s great to hear from you ヾ(〃^∇^)ﾉ

Unknown: i was starting to think you were never gonna text lol

Rin: i wasn’t

He chews his lip for a moment before quickly following up:

Rin: but i changed my mind. just cause.

Unknown: hahaha got it got it. ‘just cause’ (˘◡˘)

Unknown: rin

Unknown: wait nvm

Unknown: whatever

Unknown: rin

Rin: what

Unknown: let’s get coffee ^ ^

He stares at the screen in disbelief, watching the typing bubble pop up and disappear again and again. He can imagine again what kind of smile you must have on your face right now, or maybe you look flustered, or maybe this all means nothing to you at all and this is your way of being polite.

Regardless of the reason, he eventually types out his response.

Rin: ok

Christ, he’s so tepid.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2020

He comes to memorize every part of you, like how the sun kisses the horizon and the moon knows the tides.

Intimately, almost—if he didn’t overthink the way your touch lingered on him he could easily ignore the way it made his heart pound in his ears.

Rin learns the feeling of your fingers against his skin as you compress an ice pack to his knee. He knows your laugh—can pick apart sarcasm from genuine cheer unlike most other people he encounters. He’s never been good at reading people yet for some reason you’ve become an open book for him. 

It’s not fair that you’ve ensnared him this way, that he can’t seem to run from you (because his favourite coffee is from your café and he can’t be bothered to find a new place). That he finds himself instinctively reaching over to his phone when he can’t sleep (he has to make sure his alarms are on, might as well text you goodnight while he’s at it). And you’ve become annoyingly comfortable (he doesn’t have an excuse for this one—your lap is just conveniently a very nice place to rest his head).

He must be an open book, too.

At some point he probably stopped trying to hide his growing feelings for you, though you either didn’t notice his sudden shift or you didn’t care.

Vulnerability has never been a part of Rin, even before Itoshi Sae ruined his life.

He despises how you so easily pry him apart, skinning him alive with your hand lathering down his chest as you laugh. 

Still, he’s grown accustomed to your fingers stringing through his hair, to the way your head tilts when he explains football plays to you, to the obvious way you fluster when he attempts (poorly) at flirting with you.

He’s gotten especially fond of the way you meet him at the end of his practices with such sweet, wandering hands—pushing the hair stuck to his forehead from sweat away from his eyes; using a towel to wipe up his neck; the squeeze you give his palms as you examine them to see if there are any new cuts and bruises.

Usually, he’s the epitome of confidence in his plays. Today, however, his cheeks burn as you approach him with the same honeyed smile.

“My shots were shoddy,” he admits before you can even get a word out. You only raise a brow, hands faltering in front of you. “That was lame.”

“I think you’re good.”

“Good,” he frowns. “But not great?”

“The greatest,” you quickly correct yourself, smiling at his cravings for praise. You’re armed with a fresh towel like you always are, reaching up to clean his face as if it’s the only thing you were born to do.

He relishes in your gentle touch, peering at you through his lashes while you prattle on about how amazing he was even though he missed half of his shots.

You were so blindly supportive, it sickens him. 

Not because he felt you were being disingenuous, but because he’s not deserving of your praise. 

For the first time in a long time, it feels as though his soul is disconnected from his body. He used to walk the earth this way—uninterested in his surroundings and obsessed with only one thing.

Itoshi Sae. Itoshi Sae. Itoshi Sae.

Suddenly, he’s thirteen again and gasping for air; screaming into his pillow and trashing their shared awards until his mother comes rushing in to stop him. He’s alone in a field, abandoned and crushed.

It’s not like he’d never lost before, even in front of you. Loss was just a part of football as much as he hated it.

But your praise only makes his stomach turn, because he knows you mean it.

You truly do believe he’s the best, when really he’s been futile in his attempts to catch up with the big brother he admired so much as a kid.

“Stop,” he gently interrupts.

Rin tries to use his hair to hide the wetness of his eyes, with little success. You can see right through him, unfortunately. It’s a talent he wishes you didn’t have.

“Rin?” You say softly, reaching up to brush the hair out of the way. He doesn’t try and back up or swat your hand away, instead letting you see his miserable expression. You sigh quietly, looking more exasperated than surprised.

“Sorry,” he mutters halfheartedly.

You shake your head. “You have nothing to apologize for.”

Shame boils in his stomach at your reassurance. There is something to apologize for. Here you are, supporting him with all your heart, and all he can think about is his stupid brother. How he’ll never catch up. How he’ll never be good enough.

Doesn’t your kindness warrant his attention at the very least?

“Come on,” you tug at his hand. “Let’s get you a pick-me-up.”

Rin abides silently, body following yours off the field and onto the streets though his mind has floated off elsewhere.

He tries to count how many steps you take in between the field and the destination, but loses count somewhere around three hundred. Then he moves on to counting the hairs on the back of your head. He loses count at one hundred. Eventually, he gives up and opts for staring at your conjoined hands while he lags behind.

When you come to a halt, he nearly bumps into your back.

The ringing in his ears stops as he blinks at his surroundings. Waves crash against the shore of the sandbank, singing the song of the ocean. It had been so long since Rin walked down this stretch of the shore, he almost forgot what the sea looked like.

“Wait here,” you urge as you hold him by the shoulders then disappear around the corner.

He collapses at the wall separating land from sea, swinging his legs under the railings to sit comfortably as he remembers doing when he was a kid. His gym bag is abandoned behind him, cleats and all.

When you return, you shove a popsicle into his hand.

He’s confused at first, just looking absently at the packaging. It must be for a concerning amount of time, because you eventually pipe up.

“Do you need me to open it for you?”

Rin glares at you and your teasing smile. Carefully, he unpackages the treat and pops it in his mouth.

Sweetness melts over his tongue and he exhales sharply through his nose. You watch him in amusement with your own treat stuck in your mouth.

Silence engulfs you, eating Rin from the inside out until he feels ill. He holds his half-eaten popsicle in front of him, watching it melt down his hand.

You stare at him for a second before nudging him lightly with your elbow.

“I was being serious. You were really good. I can’t even imagine playing like you do.”

Rin’s stomach turns. The last thing he wants is your pity.

“You don’t have to be so nice,” he mumbles, resting his chin on the railing. “42 percent.”

“42 percent?” You echo, peering over the railing to get a better look at his face.

“The percent of shots I made today.”

“Come on,” you urge gently. “Aren’t you being too hard on yourself?”

“If I’m not hard on myself, I’ll never—” he stops, choking lightly on his spit. When you don’t interrupt, he shoves the popsicle back in his mouth. “Whatever. You wouldn't get it.”

It’s quiet again, save for the crashing of waves upon rock. Rin thinks for a moment that maybe he had gone too far, or that his little meltdown had freaked you out.

But when he finally dares to look at you again, you’re smiling.

“Maybe not,” you admit with a whisper. “But I do know this…” You reach over and cup his cheek with your free hand, thumb sweeping the expanse of his cheek soothingly. “There is no one—and I mean no one—who works harder than you do.”

He swallows thickly, subconsciously nudging his face a little further into your palm.

“You deserve to be a little kinder to yourself.”

The way his heart catches in his throat is strange. He can’t describe it. The warmth in his belly is foreign, but it’s pleasant.

For the first time in the year he’s gotten to know you, the thought crosses his mind:

I think I’m in love with you.

Rin’s mouth opens with the idea, but he forces it shut just as fast.

Fear grips his lungs and squeezes, stealing his air and forcing him to pull away from your touch.

“Okay,” he breathes in resignation.

You seem stunned by his sudden retreat, smile faltering ever so slightly. But you recover quickly, hugging yourself as you slouch over the railing.

Conversation moves on just like that. He appreciated that about you, too. He never had to dwell.

It feels nice, everything about this; to have his legs dangling over the edge of the cement, feet barely ghosting over the surface of the water; to have a popsicle melting between his teeth while he listens to you talk.

For some reason, it feels as though he’s reclaiming lost time, reliving a moment he thought he would never have again.

When he checks his popsicle stick, it tells him he’s a winner for the first time since he was thirteen.

(He finally allows himself to believe it when your knee gently knocks into his.)

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2021

“Frog cotton candy?”

“Frog shaped cotton candy,” Rin corrects, peering around the giant fluff of candy to look at you quizzically.

“Yeah,” you giggle. “But why?”

He grumbles quietly, cheeks a soft shade of pink as he shoves the treat into your hands.

“I thought you’d like it. Nevermind,” he deadpans, turning around to toss it into the garbage.

Your laugh crescendos and he feels his heart squeeze with affection. When your hand stops him by the forearm, he thinks he might explode.

“It’s cute.”

You pick apart the floss ruthlessly with your fingers, and he watches almost in a trance—hypnotized by just your existence.

(When you finally pop the sugar into your mouth, he imagines it melting on his own tongue. The thought makes him unbearably warm and he forces it away.)

His fascination with you doesn't end there.

There's a certain charm to you that he can't understand—something that draws him in, tantalizing but terrifying at the same time.

He can't help the way he watches in a daze, the way you've ensnared all his attention and taken up the space in his mind. 

Rin has never been good at being kind, but here he is.

Here he is, bringing you cotton candy because he thought it was stupid but cute.

Here he is, rolling up the sleeves of your yukata with a gentle scolding when you rush over to catch goldfish.

And here he is, letting you cling to his arm as if he's the only thing keeping you tethered to the earth.

He really, really hates it—how mushy you make his brain feel.

He's halfway through re-rolling your sleeves with a half-hearted scowl on his face when you stop him, hand pressed to his forearm.

“Listen, Rin.”

“Hm?” He leans down so that he can peer at your face hidden behind your almost nonexistent candy floss.

“I have to show you something.”

Rin stops dead in his tracks, raising a brow as he fully turns toward you. “What is it?”

“Can you close your eyes for me?”

His heart does a somersault in his chest. “You’re not doing anything weird, are you?”

“Who do you think I am?” You sputter.

He lets out a long sigh before complying, squeezing his eyes shut. After a long silence, he considers peeking a little bit.

That is, until he feels your breath gently fanning over his parted lips.

Nearly leaping back, he wills himself to stay grounded and slowly slides his hands up your arms until he gets to your shoulders. As he imagined, your body is impossibly close to his.

It takes every bit of concentration he has not to waver. If he really tries, he can focus on how your breath smells sweet of candy. How your hair blows softly with the summer breeze, tickling his cheeks. How you smell. How you breathe.

(Fuck. Fuck, fuck, fuck. His heart is about to beat out of his chest. Is that okay?)

You tense up in his hold and suddenly you’re retreating from him, swiftly pulling out of his arms. Just as he’s about to ask you what happened, there’s a piece of candy shoved into his mouth.

“You wanted to try it, didn’t you?” You ask rather breathlessly. He opens his eyes, looking at you curiously.

Rin has never seen this expression on you before, lips pulled tight in embarrassment and pupils blown. You look more like a wild animal caught in a cage than someone who just made a move on him.

He gingerly takes the empty paper cone from your hands and folds it up, no longer able to meet your gaze lest he explode on the spot.

“Yeah,” he says softly, shuffling over to dump it into a bin. “Thanks.”

When he turns around to look at you again, his breath gets caught in his throat.

Why are you laughing?

You giggle into your palm, hiding your gleeful smile from him as you double over slightly.

“Your face is all red!” You holler.

He grunts in embarrassment, using the back of his hand to hide his own face. “Shut the hell up,” he spits.

“It’s almost like you wanted me to kiss you!”

“Oh my god, please drop it.”

“No way! I’ve never seen you look like that before!”

(‘Speak for yourself,’ he thinks.)

“So what if I did?”

Your laughter halts as if it was swallowed into the pits of your stomach. Slowly unraveling to stand up straight, he sees another expression he’s never been able to imagine on you, but he can’t quite place it.

“Did what?” You murmur.

“Want you to kiss me.”

Your face is warm under the glow of lanterns, eyes shimmering with the overhead lights. Rin watches your mouth open and close repeatedly as you try and formulate some sort of response.

A firework explodes atop of you, and he wonders if it just saved you.

You seem jarred for only a moment more until you jolt, grabbing him roughly by the arm and giving him a pull.

“I just remembered,” you gasp. “I actually did have something to show you!”

Rin doesn’t get a word in before you’re dragging him along by the arm. With each boom of an explosion, your footsteps pick up, building into a full blown sprint out of the festival grounds and through the thicket.

You tug him along, guiding him by the hand through the winding path of trees and logs. His stamina is better than yours but you’re pushing up the hill despite your huffing and puffing—it makes him laugh with you.

When you break free of the forest, Rin’s eyes focus on a field of plush grass and buttercups.

You let go of his hand, flinging yourself forward and spinning on your heel to exaggerate how wide the opening is with your arms.

“Isn’t it great?” You shout over the fireworks. “Away from the crowd!”

He rushes up to you so that you can stop yelling, invading your personal space until you can hear him just at his normal volume.

“It’s perfect,” he tells you earnestly.

You grin up at him widely before pulling him along to the edge of the clearing. You plop down together, eyes glued to the sky as the fireworks rage on.

Rin only lasts a few seconds before his eyes drift to the side, trying to drink in your expression. It’s become a habit of his to try and imprint your very existence into his brain.

Against his better judgment, his hand creeps toward yours until your fingers are overlapped.

Thankfully, you don’t use the opportunity to tease him about it, instead shifting a little closer until you’re practically burrowed into his side. If it were anyone else, he would have shoved them away.

(When did he stop trying to push you away?)

When your pinkies slowly close together, he feels as if he can’t breathe properly.

Mark-to-mark, it’s as though he is full of all the love he’s ever felt for you from every life—past or future. Like there’s a love that exists within him that transcends lifetimes, if it were even possible.

If he were to peer into another dimension, would you still be together like this? Would you be plucking buttercups and mindlessly twirling them between your fingers? Would he be itching to envelop you in his arms just to devour you?

His thoughts cease when you take a deep breath.

“I used to come here alone,” you admit.

“No one took you?” He asks. Your gaze is piercing the night sky, never leaving the show. He can see the bloom of colours in them.

“Not since I was little, but I always loved it here.”

The question burns hot in Rin’s mind: even if it was a little lonely sometimes?

He remembers back to the night that he first saw you, with your hands dipping into the murky waters of a frog pond and an air of desolation surrounding you. Then he remembers how he couldn’t sleep that night. Not with the image of you crouching there alone burned into his memory.

“Did you know this festival is a celebration of love?” He suddenly asks.

Oh what the fuck? Oh, god. Why did he say that?

That was so lukewarm of him. So stupid. So pointless and lame.

He just wanted something to say to you, something that would make him stop thinking about how you might have been alone for all that time before you knew him.

The silence burns between you, tense and awkward until he starts stuttering out something else to fill the void. But then you look at him, slow and intrigued and so damn amused that he can feel heat rising to the tips of his ears.

“I had no idea.”

There’s a longing in your expression that tells a different story. A twitch of your pinky against his that gives away your blatant lie.

And, damnit. Here he is again, four years later under the same stars. Under the same fireworks. Only this time, he’s able to see your face even closer as it lights up a million different colours—teal like his eyes; rose like his cheeks; golden like the heart he’s tried so hard to protect.

Four years later and he still thinks you’re the most beautiful person he’s ever seen: pinkies interlocked, sheepish smile on your face, an undeniable shake in your voice that means you have more that you’re too nervous to say.

For a moment he considers finally letting go of all the things keeping him bolted and chained where he stands, swallowing the key to the cage surrounding his fragile, thumping heart. And for that fleeting second, he feels as though he’s the bravest man alive—that nothing could stop him even if you were to turn away and snub him out with the heel of your foot.

But how could he open his mouth and tell you anything when all he feels is the sick twisting of his stomach, the daunting glare of the older brother he adored so much, and the coldness of snow soaking his clothes as he sits in a field and cries?

There’s a burning, raging fire within him. Something primal and afraid and unchanging despite how much he wants to fall into your arms the way your shared etchings say he should.

It screams at him: run away. Run. Run. Run. This will only end in hurt.

He’s too fucked up. Too messed in the head and too quick to anger because he’s actually soft at heart, easy to betray—

“Rin.”

Your hand swiftly captures his face and he’s dragged unceremoniously out of his reverie.

Of course you would be able to pick out his turmoil by expression alone. By the droop of his lips into a frown—not the annoyed one he would flash his teammates, or the grimace he would scare children away with. The kind that’s sad and slow and timid, like an animal caught in a net.

“I’m really happy that we’re friends.”

“Friends?” He breathes, half confused and half incredulous.

Deep down he knows that it’s an attempt to comfort him without being too sappy. Maybe you can sense it somewhere in your soul that he would probably break down and sob if you were to make him feel any more vulnerable than he already is with you. It’s an effort to take away whatever guilt he feels and give him a chance to relax.

However, he can see a different tale in your eyes.

Loneliness as empty as the sky on a cloudy night. A yearning for more, for someone, for him, to fill the gap. I’m tired of waiting. That’s all he can read beneath the sea of colour exploding in your irises.

It only makes him feel worse, but he allows himself to be lied to anyway if only to feel the warmth of your skin against his just a bit longer.

“Yeah.”

Your pinky twitches again. He can feel the brush of your name against his, the grate of your matching soul marks. Your eyes tear away from his and are glued to the infinite sky above once more. To the stars you know are there but are covered by smoke and fire.

Rin only stares at you. He can’t focus on the explosions of fireworks anymore, not when you’re right in front of him looking so perfect. His summer treasure.

“Yeah?”

He knows he sounds dumb, repeating everything like an oaf who can’t fathom what’s being said. You giggle and it floors him.

“Just being able to stand here with you—” you glance at him again, only for a second. He can see the exhaustion in that moment, but he’s too selfish to pry. “—I think I’m the luckiest person alive.”

“Even if…” He swallows harshly. It feels like shrapnel cutting down his throat. “Even if I can’t be more?”

“Even so.”

There’s a pause and you open your mouth to say more, maybe to give him an ultimatum or to elaborate on your feelings, but then you’re interrupted by the end of the display.

Counteless fireworks explode above you in the finale. Rin can hear the awestruck gasps of families down the hill, the distant cries of children and the faint shutter of cameras filling the air.

He realizes then: he’s been smiling. His cheeks hurt from how big it’s gotten. And you’re smiling at him, too.

(The fireworks rage on, but in the end, all he can look at is you.)

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2022

Falling in love with Itoshi Rin was one of the most foolish, most wonderful things that could have happened to you.

He was an enigma in and of itself, a mystery of a soulmate who was able to love you wholeheartedly and push you away at the same time.

There were nights where you would stay up wondering why he was your soulmate when it seemed like all he wanted to be was alone. Other times, you fell asleep smiling to yourself knowing that somewhere deep down you both belonged to each other. 

The universe chose you. The universe chose him. It was indisputable, yet you still had doubts.

Tonight is one of those “foolish” nights. It seems as though you have been stood up.

For three hours you’ve waited in the same spot at the gates of the festival, watching families and couples pass by but never the one person you’d wait until the end of the world for. The sun has long since gone to sleep over the horizon and the streets are fully lit up with lanterns for the festivities.

6 pm. That was the time Rin promised he would meet you. In the past, he was always late but at least had the decency to tell you beforehand that you could go ahead without him. Only when you arrived and sat down to wait for him had he finally messaged you.

Rin: gonna be late. see you at 7.

7 pm. That was the rescheduled time. It was when you expected to see him walking up to you in his yukata that you begged him to wear this year, matching adoringly with yours. And at 7 pm you would tell him. You would tell him everything.

For months prior you had practiced almost pathetically so, recited and perfected your speech while staring at your reflection in a mirror. You’d written him a letter, too.

7 pm. You were finally going to thank Rin for everything. For accompanying you to such a silly festival even though you know he loathes it. For meeting you under the stars and the moon and the fireworks time and time again. For bringing life back into a childhood memory that you had long since hated.

7 pm. You were going to tell him thank you. You were going to tell him you loved him, just as it had been written in the stars many years before you were born.

It’s 9 pm, nearing 10 and the start of the fireworks show. He missed the entire night without explanation.

At 9:58 pm, just as you’re about to give up all hope, you finally come face to face with teal eyes and a stupidly handsome face sheen with sweat. It shouldn’t hurt so much, the way he looks at you so dismissively as if he hadn’t blown you off all night. 

“Sorry,” he mutters disingenuously, attempting to brush past you without a second thought. “Let’s go, I’m thirsty.”

He has his gym bag slung over his shoulder and a windbreaker over his uniform. No sign of the yukata you had picked out for him to wear.

You don’t follow him, staring at his back in disbelief. When he realizes you aren’t trailing behind, he turns on his heel and raises a brow in question. “Are you coming?”

“I was waiting for you all night,” you tell him coldly. I was waiting for you all this time and you never showed up. 

He swallows thickly, suddenly overcome by guilt because of your downcast expression. “I know. I lost track of time.”

“Lost track of time?” You scoff incredulously. Your mouth opens as if you have more to say, but you’re interrupted by a bang.

Rin’s eyes flutter closed. He can’t listen to this. He can’t watch.

He knows this all too well. He knew it all along.

The universe was wrong. Itoshi Rin was never cut out to be someone’s soulmate.

“We’re missing it…”

Your back is turned to him but all he can imagine is the terrible expression you must be making right now, twisted in sadness and anger. The worse image is a completely blank face—unfeeling and cold. He doesn’t even want to think about it.

Booms echo in the distance yet all he can focus on is the faint hum in his ears, the horrible churning in his stomach and the fog of guilt clouding his head.

“I’m sorry,” he says so quietly that he’s sure you can’t even hear him under the deep, bellowing explosions over the horizon.

He doesn’t remember the last time he apologized for anything like this. Being cold and aloof was just in his nature. Never before had he felt like it was necessary to be remorseful for the way he is—for how he was made to be.

The slight tremble of your shoulders and the way you use the back of your sleeves to wipe tears from your eyes force the words out of him before he can stop it. He tells you again,

“I’m sorry.”

He weakly attempts to grab you by the arms, holding you from behind so he can make you look at him. You jerk away fast as lightning, knocking him away as you swivel around to glare.

“Why didn’t you come?” You demand. There’s anger shaking in your voice. Rin doesn’t know how to respond to it, not when you’ve always been so understanding and kind. Perhaps he was too cruel for you if he was going to break you this way.

“I got caught up with—”

“With football, right?” You laugh bitterly, taking a generous step back. Hurt pours from every inch of your expression and all it does is make his heart ache.

“Stop,” he suddenly snaps. You flinch at his tone and shrink back, only adding to his guilt. He always had the worst temper. “Don’t be like this. You know it was important,” he explains, gentler this time. Softer, trying to coax you back over.

There’s a beat of complete silence, save for the hollowed explosions in the distance. Rin blinks at you a couple times before his frayed nerves finally calm again. And then he realizes something terrible.

The look in your eyes, the deflation of your shoulders—this is what utter defeat looks like. For a moment deja vu rushes through his blood, bringing him back to a time when he too felt as miserable as you. 

Every year he’s had the opportunity to read your expression: I’m tired of waiting. But he always foolishly assumed you would still wait around for him forever. That your patience would be as infinite as the stars in the sky. That just because he had the privilege of having his name scrawled down your pinky, he would be guaranteed to have you.

It was disgustingly selfish.

Just as he opens his mouth to apologize again, you storm up to him and shove the piece of paper roughly into his chest. With the closed gap, he can clearly see the tears streaming down your face illuminated by warm lanterns.

“Just forget it.”

“Wait—” He catches your wrist as you push past him, stopping you in your tracks again despite your struggle to get away. “Come on, I said I’m sorry!”

“Rin,” you sniffle, voice breaking with just the syllable of his name. It makes him falter. “I’m tired.”

“But—”

“You can’t even spare me one night? Just this one night in the entire year?” You breathe, no longer trying to dance around the subject. “What is it with you? What are you so afraid of?”

Being put in the spotlight never bothered Rin before. It was easy enough to ignore when all his life he was watched carefully. But it’s different with you; you’re the only one looking at him in this moment yet it feels like the weight of a million pairs of eyes at once.

An answer comes quickly to his mind, almost natural. He knows exactly what’s wrong with him.

He’s afraid of being left behind again. Of being hurt. Rin is terrified of love and being loved because he’s too pathetically fragile.

The pieces of his heart are clumsily glued together and he’s scared that even the smallest turbulence would send it shattering into a billion shards again. He doesn’t know how to put himself back together properly anymore. 

Itoshi Sae permanently fucked him up.

Though they were on slightly better terms now, the scars would always haunt him. The simple solution is to shut everyone else out, to protect the weak heart he harbours.

If he told you that, would you understand? Or would you try and claw his name off your skin?

You take his silence as an answer and pry away from him again, holding yourself protectively—guarding yourself from the catastrophe that follows Rin wherever he goes.

“Goodbye, Rin.”

He doesn’t watch you go. 

The nearest bench becomes his temporary home. He could do hundreds of plays in a football game and never tire, but for some reason your disdain has sucked every ounce of energy from his body.

It doesn’t register that he’s still holding the paper you forced into his hands until it crinkles in his hold. He slowly unfolds it revealing ink sloppily smeared across the page.

And then he reads it. Again. And again. And again, until it’s shaking in his hold. Until the dull ache in his heart feels like the pierce of a knife. 

Rin doesn’t know what to do anymore. He’s always had one clear goal for his entire life, but now everything is all muddled. Messy, like everything else he touches.

He turns everything into a disaster.

Does he chase after you and risk having his fragile heart broken all over again? Does he risk being left behind or does he close off the gate for that option entirely? He could sit in his cowardice and never change, preserving his heart forever in this moment of time; a polaroid in the slideshow of his mortality.

There’s a familiarity to this all. Perhaps he had lived through this decision a million lives before this. Maybe he would live through it again an infinite amount of times, so long as it was your name etched into his skin.

Was he as messed up in this life as he was in every other?

If he had ruined everything in this life, if he made the wrong choice and drove you away in hatred until you drew your last breath, then maybe he could make it all up to you in the next one.

Or, if that were the case, maybe he was born into this world only to love you—to make up for the millenia where he ran away.

Rin’s legs have never moved so fast. Not in football. Not even from his brother. If you were the light at the end of the tunnel then he would keep chasing you forever, he thinks. Until his wounded heart gave out.

Of all the stupid decisions he’s made in his life, have any of them amounted to anything? He’s going to give it one last try. One more chance to prove to himself that not everything he touches burns to ashes.

“Wait!”

You visibly startle, eyes wide as you turn to see Rin dashing toward you. He doesn’t give you even a moment to ask questions, to wonder why he’s coming back to break your heart again. 

You’re engulfed in a hug faster than you can blink, stumbling back from the force of his body colliding with yours until your sandals get kicked off your feet.

“Rin?” You murmur his name in disbelief, breathless even though you weren’t the one sprinting down the road.

“Just give me one more chance,” he stammers out. You can feel the rapid rise and fall of his shoulders as he holds you and fights for air simultaneously. Your hands twitch at your sides but you remain lifeless in his arms.

He tries again: “Let me prove it to you. Let me prove that it wasn’t some freak accident that led me to you. That my name on your skin is meant to be there.”

“Don’t do this,” you tell him quietly, lips brushing against his ear as you speak. “I don’t want to be loved and feared at the same time.”

“But…” Rin squeezes your body against his, almost desperately. Clinging to what he has ruined. “For once in my life, I want something more.”

I don’t want to be alone anymore.

You hesitantly shift, hands slowly trailing up his back until your body is curling against his. He can trace the outline of your body against his, like a puzzle piece that he was missing slotted perfectly in his grasp.

“I thought my soulmate would only slow me down and break me. I was wrong. I know that now.”

He slowly rocks your bodies back and forth. You pull away until your eyes meet his, red with tears. It’s the messiest he has ever seen you, but his heart refuses to be still. It aches.

Beautiful. It’s the only word he can describe you with. It didn’t matter if you were lit up under the wondrous sky, or handing him coffee in a crowded café, or sobbing in his arms. 

You would only ever be his infinitely beautiful soulmate.

It’s the only constant he would have in this life and every other, even if you were to break his heart. It would be the single greatest achievement in his time, above football, above any of his petty competitions—that your name is etched down his pinky.

It scares him. It thrills him.

With the distant roar of fireworks, he kisses you. And you allow him, hiccuping against his lips as you cry.

You stay like that for a long time, listening to the hollow shockwaves of fireworks exploding miles away. He’s the first to draw back, raking in shallow breaths. You chase him, finding solace against his lips once more but not fully indulging him with another kiss.

“Do you fear me?” You whisper into his mouth.

“More than anything,” he tells you.

“Do you love me?”

After a moment of contemplation, he answers,

“More than anything.”

You nod slowly, awkwardly pulling away from him and taking a step back. It’s your first kiss and you don’t know where you’re supposed to look anymore. Rin stops your nervous shifting with his hand swooping under your chin.

“One year. I promise.” You look at him in confusion, so he continues. “Next year, when the season and my contract are over, I’ll meet you there. At the pond.”

You seem skeptical still, with your brows knitted together and a lost haze in your eyes. He raises his pinky, the one with your name forever grafted into the skin, and offers it to you.

“I pinky promise.”

It’s so ridiculous, wearing his heart on his sleeve with something he learned about on playgrounds when he was a child. A pinky promise shouldn’t mean any more than the words he has already spoken. But for some reason, your eyes light up.

He feels nothing but relief when your pinkies lock together.

“Okay,” you breathe.

“You’ll wait for me?”

“Rin.” His name leaves you in a breathless laugh that makes his world spin. It sounds so tired yet so sweet. “I’ve been waiting all my life.”

“I’m sorry,” he says once more for good measure. You nod. A wordless acceptance.

Itoshi Rin is your soulmate. It’s not like that fact will ever change no matter the time, no matter the distance.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2023

Fate is a funny thing. Soulmates are a funny thing.

The universe threw Rin curveball after curveball, beating him down until he was nothing but a husk heavenly built for one purpose only: beat Sae. Beat Itoshi Sae.

There were times when he would lay awake at night wondering why he was given this life, why he was thrust into hardship and hurt and betrayal. How could something so perfect, something so all-knowing, be so cruel?

For as long as the name had been grafted into his skin, he resented the idea of a soulmate.

He hated the idea that only one person in the world would be his eternal weakness. That one day, one person would hold every piece of his soul in their hands. Even then, his soulmate was the other half of him—his salvation. His downfall.

They would know every inch of his skin. Every bleeding wound of his heart. Every bruise and scar along his legs from cleats and nails and gravel. Having a soulmate meant having every part of him exposed, to be judged and worshiped at the same time.

At your hands, though, he’s certain this is what he was born for—to spend the rest of his days by your side even if you were doing something as mundane as catching frogs together.

“You’re scaring them,” you hiss quietly.

Your fingers sink into the pond and Rin watches your reflections ripple as water fills your palms. Your faces contort and meld into one being. In some ways, it’s a familiar feeling—to have been intertwined with you since his very conception.

“You’re terrible at this.”

“It’s your fault!”

“Right,” he deadpans. “You haven’t caught a single one all night.”

“You were late,” you remind him with a huff, cheeks inflated. “Before you got here I was catching frogs all night. Coincidence?”

Rin makes another noise, something akin to a snort. But he doesn’t acknowledge your statement, instead reaching over to gingerly roll the sleeves of your yukata up to your elbows.

“Are you always so sloppy? Your sleeves are getting all wet.”

You glare at him from the side, delivering a deadly warning. “Are you always such a pain in the ass?”

“I get it, I get it. I said I was sorry for being late. Nii-chan really wanted to try that new ice cream place downtown.”

Your gaze drifts to him in the shimmering reflection, watching his smile soften at the mention of his big brother. It was wonderful that they were trying to patch things up.

Sae had decided to come home after all, promising Rin that they would play together again once they both took a well deserved break.

You could tell that Rin was trying his best not to make a big deal out of it, but the way he cried into your shoulder later that night said it all.

“I feel bad having you come all the way out here just to see me. Your brother is back in Japan isn’t he?”

“Yeah. And he wants to meet you.”

You nearly fall over. “What?”

“Please don’t look so starstruck about that. I feel sick.”

Laughing, you recentre yourself, sitting back on your heels with your hands on your knees. “Sorry, sorry! It’s not that…”

Rin raises a brow. “We don’t have to if you don’t want to.”

“It’s just—” you fumble, cheeks burning hot at the idea of being introduced to Rin’s family after all these years. Formally, as his partner. His soulmate. The name they had all known since he was thirteen. “What would I even say to him?”

He looks at you in bewilderment. Then, he snickers, only laughing harder when you smack his arm.

“Don’t worry about that,” he assures, reaching out to pat the top of your head. “Just be yourself. My family will love you.”

“Thank you,” you whisper, studying your reflections in the water with a soft smile. You’re staring right back at yourself, but Rin is only looking at you.

“I haven’t done anything special.”

“You lit up my world,” you laugh, turning back up to look at him properly. You make a mini explosion with your hands. “Boom! Like that. A firework.”

“You’re too corny,” he murmurs in embarrassment, turning his head away to hide his flushed face. “Can’t you explain it like a normal person?”

“No can do,” you tell him, voice gentler this time. After a pause, you shuffle your sandals around in the mud and take a deep breath. “If you want me to be totally serious…”

You lunge over and tackle him into your arms. He nearly loses his balance holding the both of you upright, stumbling back on his heels before he catches your waist. You don’t seem to share the sentiment of staying pristine, knees digging into the dirt as you squeeze him tighter.

Rin feels his heart catch in his throat the same way you’ve made it for the last six years.

“Thank you. For letting me love you. For being my soulmate.”

His hand is automatically in your hair, scratching your scalp as he smiles into your shoulder.

“I’m sure I gave you nothing but a hard time,” he grumbles.

“But I still love you.”

“Even though you had to wait?”

“Even so.”

“And that I’m a pain in the ass?”

“Even then, I do.”

Rin burrows himself into your neck, hiding his face again. It does a poor job at masking the kind of expression he’s making, though, considering how warm his skin is.

“What if I’m not good enough?”

He feels terrible—guilty that he needs to keep having this conversation with you. But you always comfort him the same way. He hopes you always will.

Drawing his head up with your muddy hands, you dirty his cheeks just to get a glimpse of him. You murmur a half-hearted sorry for making a mess.

Then you’re kissing him.

“I’ll be here to remind you how much I cherish you.”

You nip his bottom lip and he opens wider. You whisper into his mouth,

“And how happy I am that Itoshi Rin was born into this world.”

Itoshi Rin, broken. He who thought that he could never be put back together.

Itoshi Rin, vengeful. He who believed the only happiness that existed for him in this world was to surpass his brother.

Itoshi Rin, who did not believe in his soulmate while staring right at them. And Itoshi Rin, who finally allowed himself to love you wholly, completely, as it was written in the stars.

“I love you,” he says, as if just those three words could encapsulate everything he feels for you.

“Always?” You giggle. He rolls his eyes. 

“Wherever you are, and wherever you may be, I will.”

You kiss him one more time for good measure.

“That was corny.”

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

2024

“No peeking.”

Rin folds up his piece of paper and hangs it from the bamboo tree. You’re tugging him along before he can even properly check to see if it’s been secured.

“Come on, I don’t want to miss the fireworks!”

He wouldn’t miss them for the world. You’ve always looked the most beautiful under the brightened summer sky.

The wish he scribbled down blows softly in the breeze as both of you rush by, back to the festival where it all began.

7 July 2024. I wish I had the words to tell you how much I love you.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

extra notes. hi! if you made it this far, i'd like to give you the warmest most grateful thank you ever ( ´ ω `)

so, here it is. i've been working on this since last september-ish... for some people that amount of time is not much, but genuinely, i've never devoted so much attention and time to one single fic and i hope i did this one justice. rin has always been a guilty pleasure of mine to write for. i hope this man stays far far away from me until i can stomach even looking at his name again LOL ‾́ ◡ ‾́

also i finally admitted defeat and took out all my pictures and dividers because tumblr was fighting my posts that had any. so... sorry the formatting looks like this

additional tags: @jenoutof10 @hanrinz @itoshiexx lol hi guys it made it out of the drafts i hope you like it

[anantaru]

— taking care of his wounds

including xiao, scaramouche, diluc, childe x gn! reader

꒰ genre ꒱ — fluff & angst, crack, mentions of blood, sweet n cute

— xiao

"you do not have to do this."

"but i want to!"

deep down inside, it was imperatively embarrassing for xiao to have you mend his wounds and scratches— especially considering the fact that you were seeing him this way for once, a shelter of vulnerability and weakness, as he always seem to put it.

a good for nothing who cannot even be strong enough to defend himself, let alone the person he fell in love with.

keep in mind, you were very much aware of your boyfriend and his cruel views on himself, precisely the hurting words chosen by him, which he would insult himself with on a daily basis.

as punishment? one can only guess or say that much, but there was a translucent underlining that only a handful of people were able to take a grasp on.

"and you‘re my boyfriend xiao." that happiness in your voice, he couldn't get enough of it. but you always add the right words into the mix, catching a bolstering blush on xiao‘s handsome face the sweet moment he picks up your chosen name for him.

'boyfriend' was he worthy of such a name? he shivered, it took all his self control to not run off from this vulnerable moment.

"i‘m also worried." and you sigh so sweetly against him, melting your skilled fingers into his flesh and filling all the cold emptiness within his heart. "i don't want you to worry." his voice almost breaks in midst his sentencing but it's low, his words mumbled, "you could find someone better than me."

it's a graven fear the man held for what felt like an eternity. to see you leave one day due to his weaknesses.

because every time he experiences you taking care of him, yes, xiao does turn embarrassed— his eyes twinkling open wild, but he feels that static, as if he could actually reach the heavens behind the sky.

he suddenly hisses when you began to wrap a small cloth around a bigger wound on his hand, sneakily sealing your lips over his roughened up knuckles to kiss each and every one of them.

"there will never be someone better than you, xiao."

— scaramouche

"how childish."

scaramouche's face was mounted in a discomforting tinge while he gazed at the cute, little, not to mention pink, band aids covering the majority of his face and chest. "shut up."

you shake your head, laughing at your boyfriend's bright, assessing eyes while he hopelessly attempted to wholly conceal the agonizing pain bound within his facial features, keeping them in check with a hard look, brows criss crossed and squeezed together, "you're using too many of those."

"i wouldn't have to if there weren't that many scratches all over you."

but above and beyond, there it was; a crucial, meaningful expression that sneakily slipped past his own eyes— your current state, when you lock away the smallest amount of warm tears glinting nervously, finishing it with a soft smile, not wanting to make scaramouche feel even worse.

what confused you, and, frankly, scared you in the first place was the severe rarity of this situation— it was uncommon for him to get this beat up, this littered up with scratches and bumps, you can still remember the mere seconds earlier, when he showed up in front of your door step— dirty clothes ruptured and ripped, his bottom lip popped open and blood sliding down his chin, eyes low lidded, barely any life behind them.

by all means, scaramouche was doing better now, with the help of you and your quick responses doing wonders. needless to say did he too, catch a glimpse of your distress when you suddenly had stopped mending his wounds.

"hey." he pokes your left cheek, once, twice— "hey," and his comforting, warm voice ever so softly slips past your ears.

"i'll be okay, besides, i will take it as an insult if you think that is enough to end me."

and judging by the hitch of your breath, scaramouche felt a rambling burn deep inside, at nothing but that distraught look on your person. He opens his eyes wide, steady as glass, before sloping his head towards you, a faint, transient smile lightening his bruised face when you lean in to kiss his lips, tenderly, but compelling enough to lift the worry off your shoulders.

— diluc

patience— and the adequate plenitude of pressure were the very two notions you had channeled tonight, with your trembling hands slowly dapping the blood off diluc‘s injuries.

you truly cannot remember the last time he had shown any signs of recklessness in his usual behavior when it came to fending of intruders, so whatever must‘ve happened today had to be of graven importance or a powerful enemy catching him off guard.

"thank you." he suddenly speaks, but averts his eyes, and although his voice was raspy and chill, diluc managed to quickly snap you out of your stinging thoughts. you move to his face, tilting his chin up to catch an ideal view on the main bruises around his left cheek, allowing you to tackle those as well, "for doing this i mean."

at his words, you stop your hand, smiling serenely, almost angelic.

"you don't have to thank me for this."

"—but, do you want to tell me about what happened?"

diluc's face twitches when you retorted back to brush a splotch of dried blood from his jaw— you noticed how his lip was busted open, this thought again, of someone hurting the love of your life, it compared to sharp needles jabbing at your skin, over and over until drilled in its entirety.

but he didn't, diluc would never tell you about anything dangerous, not even when he showed up to your home, looking like that. "i rather not." there it was, that brave smile he'd manage to put on whenever he found himself in a situation like that, regardless, worry gnawed away at you, your gaze piercing through him like a freezing blast of ice.

"yet worry not." all of his attention was on you as he slants close to take your cheeks in his roughened palms, feeling them shake against your skin awakened a murky, dull feeling where you wanted to just cry in his arms, "i'd never let someone hurt you."

sigh, deep down, you wonder if diluc will ever comprehend that seeing him like that was already hurting you, was already pulling the hot air off your seized throat and clenching your heart with dread, feeling as if you could not breathe.

instead, you smile kindly at him, foreheads resting against each other, overcome by a dark sense of silence.

— childe

"hah! you should see the other guy!"

excessive boasting upon boasting, your sweet childe was out here acting like he had just experienced the best day in his entire life— a certain smile, brighter than ever witnessed before, if it wasn‘t for his black eye and bloody nose breaking the illusion he attempted to portray.

however, in contrast, childe found it exceedingly cute and appealing whenever you were severely worried and concerned about him— as is someone was ever able to greatly harm nor scratch the overenthusiastic harbinger. "you really shouldn‘t be this reckless sometimes."

you sigh deeply, then shake your head, mending the bigger wounds with a wet cloth first so they were clean and ready to be wrapped up.

but, important side note, you being brightly concerned for him made his heart flutter unexpectedly and childe suddenly expels a large wave of pride, "but you love it when i'm reckless."

"i do not."

"you don't?!" his smirk fades.

"i want you to be save." you kiss the corner of his mouth, and a vast deal of weariness sweeps over you, claiming your energy with it when you remember that this wasn't possible.

ajax was a harbinger after all.

his voice, now thick of seriousness, greets you closely, "don't worry about me." he speaks so idly, listlessly and without a care in the world, as if he doesn't care about his own wellbeing. and it left a bitterness littering on the tip of your tongue.

"because as long as you have everything in your life, i too will be fulfilled." with that, childe kisses you, all around passionate, needful and telling. on the assumption that he longed to show you his determination to protect you in a different way than solely using his own choice of words.

©2023 anantaru do not repost, copy, translate, modify

[a41-i-finally-caved]

JJ and PTSD and why 4.10 was a slap in the face

Okay. so. Here's my issue.

(there will be a ton of cursing because I'm fucking pissed.)

JJ's ENTIRE FUCKING ARC has been him feeling like he's worthless, like he's somehow inherently evil, that he "deserves" the things that happen to him, that everything's all his fault. That he should be killed saving his friends because that's all he's fucking good for.

And that? That's not a JJ-exclusive thought pattern. That's what happens to your brain when you're a CHILD and a fucking grown ass man instills that in your head. Whether physical and verbal abuse like they showed in canon, or childhood sexual abuse like what's happened to me and many, many others. An adult shows you that you're not worth shit compared to them, and since you, again, are a child, you fucking believe them. Adults teach you about the world, and kids are good fucking listeners.

So you grow up knowing down to your guts that you don't belong on this earth, you don't own your body, you don't deserve the space you take up. Any of y'all confused by JJ's bullshit?? Well there you go. That's the very basic assumption he's working off of: he's dead, been dead for years, so what the fuck's it matter what he does? It doesn't.

(I don't know how to express that screaming lack of existence to those with an inherent understanding of their own worth and right to living but the closest I can get is this. You look at yourself and understand that no matter what actions you take, you are wrong on a soul-deep level and there's nothing you can do about it.)

Here's the thing. It's all bullshit. And it takes so much fucking effort to believe that, and some days you don't but you trust that you will tomorrow or the next day or the next. That's called healing. That's called living.

Because the only way past this is time and support and fucking proving with every breath that no. Fuck you. I deserve to be here. I deserve to get old. To cry. To weep. To fucking dance on a dock because you finally made a home. That you deserve to LIVE.

And S4E10 just declared no; you don't. JJ was too damaged to give him any other ending. Even Kie couldn't fix him. The best he could hope for was dying in the dirt with someone he loved. Oh look he gave up the crown! He was happy in the end! He had his wish! He loved her!!

Yeah well sorry to bust the 'isn't it all so tragic' circle jerk, but no. It's not fucking poetic. Or beautiful. Or God-fucking-forbid romantic. It's shit.

Because JJ Maybank was never real, but they chose to highlight the very much real pain I and others struggle with using his story. And then they told me that struggle ends with death...because how else could it end?

Just because y'all can't imagine living his life and going on, and going on, and going on, and not fucking killing yourself doesn't mean the rest of us aren't looking down that path every day and deciding to break those lies in one moment of existence after another.

The showrunners missed that.

If they wanted to finish JJ's arc? It wasn't saving Kie, or finally having some 'realization', or sacrificing himself for his friends. It wasn't some short but meaningful life.

JJ needed to fucking live to prove that he deserved it. End of story.

Thanks for the slap.

[johannesviii]

Nearly every time I've rewatched Infinity Train Book 3 since I first saw it in February, I saw more parallels and narrative echos, and infodumping my friends about them isn't enough anymore

I figured I should do a post about this one because I don't think I've seen a post about that specific thing yet, and I love this show's writing, and. idk. I just need to praise it I guess

So, the most obvious part first:

Grace became everything she hated about her parents

When Grace mentions her mother in the Debutante Ball Car, it's made pretty clear she's trying to distance herself from her mother as much as possible, and at this point, we realise retrospectively that Grace's room in the Mall Car in episode one was full of sports clothes - it seems she tries to avoid things reminding her of her life before the train. And of her mother. And yet-

She tries to control everyone and everything around her, and makes people do what she doesn't want to do

And she decides what's cool and what isn't

She makes people kneel in her presence, like her mother towers over her in her mind's eye

Obviously she constantly lies to get what she wants, and her dad does that in her tape

When her younger self looks up, she looks right through adult Grace, and it's actually her parents she's looking at! Her younger self is metaphorically seeing her parents where her adult self is standing!! I still can't get over this shot

Also I feel the need to mention her mother has the same voice actor as her in her tape and even if it might be to cut corners in the budget, that feels significant (and to be fair, sometimes you can cut corners while making meaningful choices at the same time)

Now you might think I'd have nothing to say about Simon on that matter, since we don't see any flashback of his life before the Train, and we know next to nothing about his parents. But I think it's very telling that the only actual backstory we get for him is his backstory with The Cat.

Because-

Simon became everything he hated about The Cat

Ok I never see anyone mentioning this, but hear me out

First, we have no idea if Simon knew The Cat was routinely invading people's privacy through their memory tapes, but he sure has no issue doing the exact same thing

But that doesn't stop there. He also collects things obsessively

And makes kids collect things for him as well, by the way

He thinks he's above others, but he immediately switches to victim mode when it comes back to bite him

HE. ABANDONS. A CHILD. WHO WAS UNDER HIS CARE!!

And. Uh. They both dig their heels instead of trying to change, too

Don't get me wrong, on some level I would have liked to know what Simon's parents were like too. I would have liked that a lot. But there's a good chance it wouldn't change anything, because everything we need to know about his background to understand why he's Like That™ is already in the show

But yeah, Grace and Simon both pretend they found freedom on the Train, and both distance themselves from parental figures who are at the source of their trauma, claiming they're different and better than them - and yet they are both subconsciously repeating patterns that caused at least part of their problems and/or trauma in the first place

And since they decided that making numbers go up was good, as long as they stick to that idea, they are bound to never escape from that self-perpetuating loop of harm and trauma

And I love it

And I hate it

[ryssabrin]

i honestly feel like the mythal-solas-lavellan thing is not even that complex or hard to figure out and yet i'm still seeing so many solasmancers completely misunderstanding it and hating it as a result of misinterpreting it?

like no. lavellan is not mythal 2.0. i do think there are possibly some aspects about lavellan that drew solas to her because they might remind him of the parts of mythal he admired sure. but then there's a very obvious and intentional contrast! where mythal twisted solas and "used his wisdom as a weapon" so much he literally became pride, lavellan asks his advice, respects his opinions and lets him become more like the wisdom he originally was. mythal left him to go become a god with the rest of the evanuris while lavellan rejects the mantle of chosen one.

and it also really puts in to perspective his extreme reactions to the inquisitor drinking from the well and what happens to the wisdom spirit. he's horrified lavellan is bound to mythal. he's outraged at wisdom being corrupted against its will. those are things mythal did to him. that he let her do because he loved her. those are not things lavellan would do and the moment when he truly comes to respect the inquisitor for their wisdom and judgement is if they agree to help the spirit. it's also when he can't hold himself back from wanting to get closer to lavellan anymore. she shows herself to be the opposite of mythal in a way that is so meaningful to him.

i also don't see how solas is "settling" for lavellan in the redemption ending. whatever his feelings were for mythal, they're so twisted up in all the ways she hurt him too. i think it's interesting there are codex entries that call solas "mythal's lapdog" and her second in command. it makes me wonder if there was ever a time when their dynamic was really equal. when she appears before him he immediately bows his head and won't look her in the eye. he becomes disturbingly submissive. i don't see how anyone can look at that body language and see a man wanting to get back with his ex.

he says in his letter what he really wanted was to give up all of his plans and just be with lavellan as solas. but he doesn't let himself have that because of what he feels he still owes to mythal. he regrets what he let mythal turn him into, he regrets not being able to reconcile with her before her death despite that, and he convinces himself that any pain he causes or damage he does in the aftermath is in her honor. giving it all up for lavellan would be betraying not only mythal but literally the entire elvhen empire who suffered when he created the veil as retribution over the evanuris murdering her.

so when mythal finally gives him closure and tells him he doesn't have to carry that burden anymore, that's when he's finally free to choose lavellan, the person he really wants to be with. the person who allows him to return to his true purpose and makes him better. he's not settling he's moving on.

[bonzos-number-1-fan]

What DPHW Means, and Its Relationship to Smirke's 14

The following contains spoilers for all of TMA, TMP (eps 1, 2, and 3 released currently if you’re in the future), and the ARG. Spoilers for all of this are throughout so I would advise against reading any of this unless you've listened to everything mentioned. It could also spoil episodes of TMP that have yet to release but if it does I don't think it will be a major spoiler. If I'm right I think I'm only right about a fairly trivial piece of information. 

Theory of Fears; or, Zur Furchtlehre

Part 1: Opticks

Smirke's 14 isn't the truth. With or without Dekker's +1. It is, however, necessary and correct. It has also been talked about ad nauseam and isn't a topic I want to dedicate a lot of time to. Smirke's 14+1, or even TMA in general, isn't the focus of this theory nor is it that relevant past its necessity as a point of comparison.

There aren't 14+1 distinct entities in the TMA cosmology. There is a singular entity that has been given divisions by fear and labels by those that have witnessed it. There is no objective line in which to draw these divisions. No matter where you put them or what you name them these concepts will always bleed into each other. Aspects of one Entity will manifest in another because the labels are invented and Fear is a storm of concepts crashing into each other. That's not a flaw in Smirke's list but its strength. A single entity of that scale is impossible to discuss in meaningful terms, the concept has too much gravity to be properly conceptualised and so an entire spectrum of fear must be divided in order to combat it. Categorisation is a vital part of TMA's cosmology and Smirke was as correct as anyone to put those lines down where he did. The real flaw with Smirke's list is forgetting the spectrum exists and stopping seeing the shades in between the Powers.

Finding a way to categorise this concept is important, but the methodology isn't. Smirke's 14 isn't the truth. The only truth is there is a singular whole. But branding goes a long way both in terms of research and in terms of following. This branding lacks accuracy though, it is in large part arbitrary and by its nature removes the shades and the bleed. TMP takes a different approach, one only hinted at, but one that I think is now fully explainable. 

Part 2: Lost in Translation

Perhaps the most interesting mystery in TMP thus far is DPHW. However, I think based on episodes 1 and 2 of TMP (and now 3), and the Klaus excel sheet from the ARG, we have all we need to explain its utility.

In order to show that conclusion in a satisfactory manner some basic facts need stating, and the order of my thoughts on those facts needs explaining. Firstly, each DPHW is 4 digits. Secondly, each DPHW is read as 4 numbers rather than, say, a pair of 2 numbers. Thirdly, these numbers can change independently of each other. Fourthly, incidents may share CAT#R#'s but have a different DHPW as found in the Klaus sheet (a German document listing OIAR-style incident reports). Finally, the German equivalent of DPHW is TSHU also found in the Klaus sheet. We can use those facts to determine something important. Each letter of this initialism is paired with a digit meaning that DHPW is a group of 4 categories. If that is true we can intuit some of its meaning. It is likely that these numbers are a rating of sorts for each category there. To prove that's the case we would need to know the categories and fortunately we have a starting point to understanding it, German.

If the categories that DPHW describes start with the letters TSHU in German then what needs to be done to find the categories is quite simple. You pair each letter up and then find a suitable word to categorise the supernatural whose first letter starts with the respective letter from the initialism in its language. D/T, P/S, H,H, W/U. After some brainstorming in the Statement Remains PLUS Discord server we had come up with strong candidates for 3 of the 4 pairs.

The first was Deadly/Tötlich, a seemingly solid start that gave this theory some legs. Next was Painful/Schmerzlich which was a distinct enough category for the threat of an incident that proved this was a strong direction to head it. H/H proved more troublesome. To my mind the two strongest contenders here were Hypnotic/Hypnotisch or Helpless/Hilflos. Both sound very reasonable but that in itself is a problem. However the last one was found relatively easily as Weird/Unheimlich. With 3 of the 4 it seemed like this was all but correct at this stage. However, I had been thinking about this backwards and it wasn't until I had a revelation that the pieces really fell into place.

Unheimlich sounded familiar when it was suggested but not in a way I could place. It wasn't until the next day that the aforementioned revelation happened. The ARG had a huge focus on Germany, and Ep 1 of TMP revealed why. FR3-D1 uses German source code which makes German the original language for the OIAR's methodology. Meaning DPHW is the translation, and I now think it's a shoddy one at best. The reason unheimlich sounded so familiar to me is because it's a fairly important part of psychology's history.

DPHW's Weird isn't weird, DPHW's Weird is uncanny. A direct translation could give you weird but a more accurate one, especially in this instance, gives you unheimlich. Unheimlich as in Jentsch's "Zur Psychologie des Unheimlichen", and Freud's "Das Unheimlich". Both of which are essays on the uncanny. It's all about the fear of the unfamiliar, and a central example of this is Olympia from Der Sandmann, a seemingly living doll.

The German word unheimlich is obviously the opposite of heimlich, heimisch, meaning “familiar,” “native,” “belonging to the home”; and we are tempted to conclude that what is “uncanny” is frightening precisely because it is not known and familiar... - Freud, The Uncanny

This is incredibly relevant to a lot of what has been discovered so far. The uncanny as a topic in psychology was kickstarted by two Germans, and a central part of their essays was the German Der Sandmann, and a German, SSandman, was a large presence in the ARG. The strength of this connection all but solidified this theory in my mind. And, briefly, this is also related to Masahiro Mori's uncanny valley hypothesis which I'm sure I won't need to explain.

The obvious way to test this is to take the few W ratings we have been given and compare them to the incident to which they're assigned. The first is from Ep 1, “dolls comma watching”, and was given a 7. This is a good start both in that a 7 feels appropriate as an "uncanny rank" but also that a doll is a focal point on the essays on the subject. Also in Ep 1 is "Reanimation (Partial)", again with a 7. Another very appropriate number. The last in Ep 1 is "Transformation (eyes)" with a 5. Certainly less uncanny than the previous examples so this is still strong. In Ep 2 we get a 5 for Bram Stoker's Dracula, which seems more than fair for a strange man like him, and a 7 for Frankenstein which gives parity for another story of the resurrected dead. Finally we get "Transformation (full)" at a 7, more uncanny than "Transformation (eyes)" which tracks nicely.

With what I felt was such a strong theory for the W/U pairing it helped clarify the ideas of the others. The final digit rating the uncanniness of an incident gives an idea of how these categories work and the breadth of their definitions. Up until this point I was leaning towards Hypnotic/Hypnotisch for our H/H pairing. But giving it more thought, and comparing it to TMA's own groupings, it becomes apparent that Helpless/Hilflos is more appropriate. Hypnotic effects are too aligned with things that would already be very aligned with Uncanny ones, the Stranger's Not!Them alter memories and prey on the fear of something being not quite right, so as a categorisation tool I think it makes less sense because of the greater overlap. Helpless on the other hand works better for things like The Dark, The Buried, or The Lonely. Aspects which I don't think show up in our current other 3 groups. But given the current definition of the strongest category, the fear of the uncanny, I think that helplessness is a more apt label. The fear of helplessness. Which makes H Helplessness/Hilflosigkeit.

With this level of breadth established re-examination of the final two categories is warranted. Painful/Schmerzlich is more likely to be Pain/Schmerz. Not just incidents that are themselves painful but the fear of pain, possibly including the emotional. A comparison to TMA gives this rating a strong affiliation with Entities such as The Desolation, The Corruption, or the Flesh. Similarly Deadly/Tötlich should now be broadened beyond the fear of things that will kill you, to the fear of death in a broader sense. Which makes D/T Death/Tod instead. To compare again to TMA this is The End, The Extinction, or The Slaughter. Although, while I might be describing these ideas as the fear of ____ I think it's important to know that they do appear to be more conceptual in nature rather than just if something is scary or not.

Comparing each of these assumed categories against current DPHW’s strengthens this argument. “Dolls, watching” scored 1157. It’s a very low fear of death and pain, but they present a medium fear of helplessness and a high fear of the weird. For a fear that’s rooted in paranoia that makes good sense. “Reanimation (Partial)” got a very similar rating, at 5257, but it being a corpse cranks up its fear of death. “Transformation (eyes)” got 2155 which, again, seems to fall in place with what we know. It’s more human than the doll is so it’s less weird but a physical and alarming transformation naturally seems like more of a terminal concern. Combine that with some good ol' internet death threats and it's not nothing, but not much.

As a small aside, while it's not come up in the episodes so far the Klaus sheet shows DPHW's are 0-9. There is a good bit of evidence to suggest 0 might be read as 10 here. 0 most commonly showed up in that sheet for P and the incidents often had the notes "Kriegsvolk". Literally "war people" but more accurately "army/soldier". So pain of 10 for those would track better than P of 0, and it explains why things like the watching doll rate a 1 for D and P instead of a 0, and Dr. Webber's infection is a P of 1 despite entirely removing physical and emotional pain as it goes. Because 1 is the lowest.

For Ep 2 we start with Dracula scoring a 7465, he’s undead and a killer for high death, if he kills you it hurts but it’s not extreme, he’s both hard to physically stop and has mental tricks, and he’s just a weird dude in general who always seems off somehow. Frankenstein at 5337 has aforementioned parity with the reanimation incident as you’d expect but notably less on the helplessness rating as he is just a man. Next is “Transformation (full)” at 1567. This is generally a more severe rating overall than Transformation (eyes) and you’d expect that, but I think it does show something interesting. At no point did Daria want to end her own life. The transformation is far more severe, arguably looks more life threatening, and was clearly more painful but it is explicitly and repeatedly not about dying. I take that as a suggestion that these ratings take into account more than just the mundanely observable nature of the incident. She looks very sick which would make you think of death but it rates low for it because of the emotional, or maybe supernatural, purpose of the incident. She didn’t want to die, the manifestation didn’t try to kill her, and so despite its appearance it’s low on death.

Then finally in Ep 3, we have "Infection (full body)" with a 8175. (Although I'm assuming that's a misfile and it should be Infection (Arboreal)). I think D and H here are more interesting to dig into. P is pretty obvious it's the lowest rating because it seemed actively pain-numbing as it went. W being 5 tracks too is certainly uncanny and has strange geometry but it's not full Distortion levels. So with those two out of the way we can get to the good stuff. D is the most interesting of the two to me. Because while it's pretty clear he died I don't think that's got much to do with it. Rather I think the 8 is more specifically about the way it deals with death, decay, and rot in relation to new life and the growth of other things, plants and insects. Thematically, I think there is a lot more emphasis on death as a broader concept beyond the terminal nature of the infection. For Helplessness there is also an additional element beyond whether or not he was able to do something about the infection, and that's whether he wanted to. As the symptoms worsened his desire to treat them decreased. Initially he was worried about the infection and determined to seek attention when able, then he was happy to let someone else help instead (a hallucination, which makes things more helpless), before finally wanting it to happen. These sorts of elements are things I think we're going to see factor in quite a lot.

In summary; it is my belief that DPHW is a way to rate incidents that the OIAR catalogue based upon the strength of the fear they elicit in the categories of death, pain, helplessness, and weird (uncanny). This system is effectively the TMP equivalent to Smirke's 14 from TMA. Rather than assigning each statement to an Entity each incident is rated for those qualities. These systems are distinct methodologies but each is a way to categorise the supernatural.  

Part 3: On Analogy

That is the juicy bit of this post out of the way so now I have to put a bow on it and touch upon the overarching analogy here. As alluded to by the title and some turns of phrase, it's colour theory. It's a somewhat common analogy for TMA's fears but I think it applies in equal measure to TMP and taken together might provide an insight into how the cosmologies will differ. So, to me, colour theory is not only the perfect lens in which to view the Fears as a whole, it's the perfect lens to view these methodologies.

Smirke is Newton. He broke up a singular spectrum into wide chunks. The Dread Powers themselves are very analogous to a colour wheel. Colours bleed into each other and the boundaries of where one stops and starts is up for debate but red is still red, and blue is blue. That is a useful context for them, it aids discussion. Try talking about red without ever saying red and only referring to a representation of a divided whole. But all too similar to Newton's 7 colours Smirke's 14 lacks nuance, it lacks shade.

On the other hand we have DPHW and this is all shade. DPHW is CMYK. It's not one thing or another with DPHW. You don't have the pitfall of Smirke's methodology where one manifestation is in one arbitrary box. Here, assuming I'm correct, each incident is made up of constituent parts. The OIAR, and presumably its German forebear, are less interested in Smirke's occult ancient gods and more interested in bureaucratic precision. Smirke was doing research while the OIAR are doing administration. As such DPHW takes a wholly different approach. It's now all shades. This has its own problems in that it's harder to discuss in broad terms. It's such a specific methodology that it's lost a lot of what Smirke triumphed with. This is well represented already given that no one has been shown to know what it means at all yet. But if there is a truly different cosmology at play here we might see the axes of DPHW being where alliances fall.

All that leaves us with is a comparison of these two. The only way to really do that is to talk about how Smirke's 14+1 would fit in DPHW's system. This is something I touched upon briefly. Death is strongly related to The End, The Extinction, or The Slaughter. Pain to The Desolation, The Corruption, or the Flesh. Helplessness to The Dark, The Buried, or The Lonely. Weird to the Stranger, or the Spiral. But that's not all of them and even within those it's already clear that something like The Vast isn't just about helplessness, and we've already seen Daria who would likely be an avatar of the Flesh rank highly in Weird. Which hits upon what I feel is the most interesting aspect of this entire theory. We've seen what happens with Smirke's boundaries on the Entities. We don't know if Entities even exist in this setting, or if they do exist whether they'll be the same ones, or even if they're not the same ones whether they'll function under similar rules. But now we get to see what happens when there aren't those boundaries. We get to see much broader mingling than TMA showcased. It was hinted at there, especially early on before the lore really settled, but now that mingling seems to be the whole point.

And as a brief mention, and to further labour the theme, I don’t think there is enough information to really discuss how CAT#R# works but there are some analogies to work with here. From the Klaus sheet we can infer that CAT# has the following values 1/2/3/12/13/23/123. Or three non-mutually exclusive groups. What those groups are is hard to say right now. There is some soul/body/spirit stuff for the alchemic tria prima that's got some nice connections but doesn't map well now that Ep 3 is out. Either way, this is RGB. An incident can be all red, or red and blue, etc. R#'s values we can infer to be C/BC/B/AB/A/S with maybe an AS in there too. That's a linear scale of similarly unknown value but could represent something like potency/threat. If that is the case then R# is saturation. Some things are more intense than others. We also know from the Klaus sheet that CAT is the German from the "kategorie" meaning "category" the R was from the German “rang” meaning “rank” and so probably has more meaning to it than currently implied.

[alicefromwhichplanet]

Why Optimus being a good person in upper class/ Megatron being an angry rebellious lower class is a great and meaningful plot

Recently, with TFOne coming out, I’ve learned that the new movie made changes to Optimus and Megatron’s backstories and instead of giving them different backgrounds, like coming from different classes (like in tfp or idw1), they’re put in the same class as colleagues in mines. I’ve already seen people celebrating this as “an innovation/ something new” and an uplifting of Optimus’s character, because as the lower class he gets to rebel, therefore Megatron’s character aura won’t overshadow his. But actually, I am quite disappointed at this change. I think such arrangement is a worse one, not a better one, especially to those who love character depth and realist plots.

First of all, I want to argue that Optimus and Megatron carry every different roles in all transformers shows in general. By this I mean no matter how the plots change, the foundation of their motivations are different—maybe only except for Shattered Glass, where their roles are exchanged. Megatron’s foundation of motivation is: war/chaos. No matter how much his actions are justified, Megatron is still a bad guy, because he sticks to a path of violence and destruction rather than peace and negotiations. In contrast, (I put Megatron first because Optimus’s motivation is clearer if compared with Megatron) Optimus’s underlying logic (the foundation of his character motivation) is: peace/order. No matter how brilliant the battle scenes were, no matter how much he talked about “stopping Megatron at all costs”, Optimus’s final goal is to seek peaceful solution to the conflicts he engaged in, and find a way to resume order. That is also the basic logic of every transformers show, and how the playwrights justify autobots as the good guys, decepticons the bad guys. (This can be easily understood through series that give Megatron and decepticons fully justifiable motivations, like tfp and idw. They started the war because they were angry at the unjust treatments, and became villains because they eventually became a source of ongoing chaos and destruction)

With this premise, it is not difficult to see how brilliant and intelligent it is to put Optimus and Megatron in two different classes. Because people’s thoughts vary with very different experiences. In the past successful shows like tfp, the conflict between Optimus/Megatron is perfectly explained with an idealist/realist contrast.

Being an idealist advocate of freedom and equality is a successful way most Optimus(es) are portrayed. Under this premise, Optimus is basically a good person with strong sense of morality. He is aware of the problems in his system, seeks a change, but because he is from a more “privileged” class, or to say, closer to the power holders, he tends to develop an idealistic view of solving problems with milder approaches: handing in proposals, talking with congress members, or growing his own influence and trying to persuade the congress. In any of these cases, Optimus’s ideas are in line with his background. And like any well-written character, he is limited by what he can see in the class he belongs to.

As we’ve analyzed at the very beginning, Megatron’s characterization mainly revolves around “war and chaos”, one clever way (tfp and idw) playwrights used to make him more than just an evil stage prop is to make him more of a realist, in contrast with Optimus’s idealism. This usually comes with the backstory of Megatron coming from the bottom of the society, rebels with violence against social suppression he could not endure— at the same time, he also has a natural tendency to seek radical solutions. With this disadvantaged background, Megatron’s violent behaviors and refusal of peace are not groundless actions. It is a clever way to reflect the reality and increase plot depth. In my opinion, explaining “why the villain does evil” is the key to a successful story.

Another thing I want to argue is that, I don’t think giving Megatron and decepticons a justifiable backstory is diminishing/ “overshadowing” Optimus’s character. Because as we analyzed above, Megatron and Optimus have different roles to play. One overthrows the old system, the other rebuilds the new system. One raises the question, the other spends more efforts to find a feasible solution. Optimus and Megatron are two sides of the same coin. The depth of Megatron’s motivation actually decides how brave/noble/meaningful Optimus is in the act of “defeating” Megatron. For example, If Megatron’s “evil” is flatly portrayed as a bad-tempered child throwing a tantrum, Optimus’s “act of justice” is merely an older child calming the naughtiest kid in class.

Some believe that “not being able to stand up and rebel against suppression (like idw Megatron did)” made Optimus somehow “uncool” compared to Megatron. But he’s not. In fact, Optimus’s journey is not a bit easier compared to Megatron.

Instead of “suppressed class rebelling when there’s nothing to lose”, Optimus’s growth arc follows the route of a compassionate upper class who can look beyond where he stands for, and resonate with people who’s living under him and away from his life. Compared to Megatron’s “outward rebellion”, Optimus’s rebellion is “inward”: he has to fight himself to reach the higher ground— fighting the urge to step back into his conventional ways of thinking, fighting his self-doubts and inborn modesty to step back from leadership (very well presented in TFA and TFP), and by the end of the war, in most Megop fictions, Optimus has to fight back the urge to continue the war as he is used to, and step forward to “see” and “move” Megatron— understanding him, reaching out to him, loving him. Many people take “fighting on with the villains” as a braver, manly act, but actually stopping the conflict takes more courage and wisdom. And in the long run, it’s always a superior choice.

In short, I still think writing Megatron as the rebellious lower class and Optimus a compassionate upper class is a genius idea beyond comparison. They’re bound to be different, and there’s no harm in creating separate backstories for them. Like I’ve read in an early megop novel that has become a classic: “I’m here to do things you wouldn’t, so that you can do what’s right.” (Megs to OP)

In my own impression, Megatron is a radical revolutionary, and Optimus is an idealist reformer. The two carry different aims and functions in the plots, their values contradict and supplement each other, and so when they’re finally united, sitting down and listening to each other, their unity is incomparable.

[once-upon-an-animation]

I’m still working my way through Wrath, but I think one thing that continues to irritate me about the way Rick writes Percabeth is that it’s always being re-iterated to us that Percy feels insecure/inadequate regarding his role in this relationship, but we don’t usually see Annabeth worry this much about whether she’s ‘good enough’ for Percy.

On the one hand, you could probably say that it’s her pride that prevents her from worrying…….but I also don’t buy that because Annabeth has been demonstrated to ruminate over her relationships with others and whether they’re going to last. But we’ve never seen her worry about whether she is doing enough to ‘serve’ the relationship; it’s always about what the other person is doing.

I think why this annoys me in particular is because it feels like more missed opportunities for Annabeth to finally tackle her fatal flaw (hubris/pride), learn what it means to actually do some meaningful introspection/self-reflection (a very important part of being a truly wise individual), and make more meaningful demonstrations of humility. I’m not saying she needs to hate herself or anything, but if I can be honest, self-hatred is NOT the definition of humility and it’s disingenuous to treat it as such (for all you people who are inevitably going to complain about “omg11!1!!1 Suggesting that a female character should show humility!!?!?? How sexist!!!1!!1!).

Humility and introspection are important parts of being wise because despite your unwillingness to admit this, sometimes your problems are not always caused by others and/or external factors. Sometimes, your problems are in fact your own fault, or at the very least, some of your behaviors are exacerbating the problem. Sometimes, you’re not doing the best that you could be doing in a relationship, or there are some behaviors that learning/unlearning would benefit the relationship a lot. And it demonstrates a lot of courage and maturity to be able to admit that about yourself.

I bring this up in relation to Percabeth, because I’m a little tired of reading about how Percy always worries about his inadequacies in the relationship, but we never see Annabeth question herself about whether she’s being the best girlfriend she could possibly be. We don’t see any examples of Percy making a new friend who seemingly acts like/questions whether Annabeth is a good match for him. It makes the dynamics of the relationship feel unbalanced, like the responsibility is solely on Percy to service the relationship; Percy does most of the giving, and Annabeth does most of the taking.

When was the last time Annabeth sacrificed something that she wanted to do/say to make Percy happy, the way he often does for her sake? When was the last time that Percy’s traumas and emotional struggles were given front and center spotlight in a conversation of theirs? When was the last time that Annabeth realized that there was something she was doing wrong that was maybe hurtful to Percy, and maybe she should change that behavior? Why is the onus always on Percy to pull it together for the relationship, when his girlfriend has ways in which she could grow too? Why does it often feel like Percy is expected to do most of the emotional legwork?

[burst-of-iridescent]

No, Shipping Zutara Is Not Supporting Amatonormativity (Please Use Some Fucking Braincells For Once)

- a treatise by a severely pissed off aroace zutara shipper

since words don’t mean anything anymore (if they ever did on the esteemed piss-on-the-poor website), let’s start with a definition.

amatonormativity: the set of social assumptions that everyone prospers with a romantic relationship, thereby positioning marriage as a universal goal of adult life. amatonormativity forms the basis of several institutional structures that are built to cater to romantic bonds over all others, also manifesting in social pressure on individuals to find a romantic partner by pushing the false narrative that those who do not experience romance are automatically lonely, unhappy and unfulfilled. it is usually characterized by the prioritization of romantic love over other forms of love, particularly platonic.

the anti-zutara argument based on this is as follows: wanting zutara to happen is amatonormative because it a) devalues zuko and katara’s platonic bond b) pushes the idea that men and women can’t be friends and c) doesn’t align with the themes of the show, as romantic love was never the point of atla.

i would like to take the time today to tell you that this is some fucking bullshit, for the following reasons:

one, this may come as a shock to some of you, but zutara shippers did not invent the concept of romantic love in avatar: the last airbender. you are more than welcome to criticize the pairings of suki/sokka, katara/aang, mai/zuko, yue/sokka, jin/zuko, jet/katara, and even kanna/pakku for perpetuating amatonormativity through their unnecessary romantic subplots. and if you don’t have anything to say about any of those pairings, then here’s a word for you: hypocrite.

zk shippers are not introducing the taint of romantic love into some kind of wholesome platonic utopia where it never existed. when we say zutara should have been canon, it is a statement that ends with the implicit instead of kat.aang and mai.ko tacked on at the back because if we were going to get a romantic relationship anyway, it might as well have been one that was well-developed, narratively impactful, and thematically relevant.

two, saying zutara is amatonormative is fucking rich when the main “romance” of atla is a three season long struggle to get out of the friendzone. aang’s desire to be in a romantic relationship with katara is one of his primary motivations throughout the show, and not once does either he or the narrative ever entertain the thought that just being katara’s friend might be enough. to the contrary, aang’s crush and the potential of its reciprocation is a fundamental part of how the story gets its audience to invest in both his character and the kat.aang relationship. they want you to want him to get the girl, and that’s the driving force of the ship’s development from start to finish.

you can see the influence of this in the way people defend why kat.aang had to happen: “aang would be crushed!” “it would break aang’s heart!” “aang deserves to be happy!” and that in and of itself is more amatonormative than any version of romantic zutara, as if this idea that aang is somehow doomed to a life of misery and loneliness just because he can’t be with the girl he likes isn’t inherently based on the assumption that platonic love can’t be as meaningful and satisfying as romantic love.

three, let’s be so fucking fr: a show written by cishet men in the early 2000s was not “subverting amatonormativity” by not making zutara happen, especially not when they went for the fucking olympic gold of romantic cliches — the hero gets the girl trope — instead. otherwise, why did the entire show end with an uncomfortably long liplock? if romance would’ve devalued zuko and katara’s platonic bond, then what the everloving fuck happened to their friendship in the comics and the legend of korra?

it is blatantly false to say that zutara shippers are the ones devaluing their platonic bond when the creators did it first. they evidently don’t view zutara’s platonic bond as equal to kat.aang’s romantic one, judging by their treatment of both relationships in the comics and LOK and the fact that they talked about kat.aang “winning” the ship war in the first place. because if the two relationships were of equivalent standing, why would there be a winner and a loser at all?

amatonormativity is baked into the DNA of atla, and while some people choose to reject this framework entirely (zk friendship >>> ka romance anyday), it is also not wrong for zk shippers to be annoyed at the treatment zutara received within the context of said framework. since the creators clearly thought a romantic relationship was better than a platonic one, they could at least have picked the couple that actually made sense instead of adding insult to injury by making that romance kat.aang. it is not amatonormative to acknowledge that zutara was not afforded the distinction it should have been in the eyes of those who wrote it, because it’s obvious that the decision to keep zuko and katara’s relationship platonic wasn’t to respect their friendship, but to position them as inferior to kat.aang.

four, detractors of romantic zutara often argue that their platonic relationship is inherently better & i’ve discussed before why that isn’t the case, but i also hate this argument because it’s perpetuating the very thing that aromantic people are trying to get rid of in the first place: the hierarchization of love. it is not the “gotcha!” you think it is to genuinely state that platonic love is better than romantic love, because it’s still buying into the idea that there’s some kind of order to categorizing human relationships. the solution to amatonormativity isn’t changing what form of love gets to be at the top of the list — it’s doing away with the hierarchy entirely.

i ship zuko and katara because canon already gave me their friendship. i already know what their platonic relationship looks like and that gives me more room for imagination in developing their romantic one because it’s a place canon didn’t go.

at the end of the day, friendship and romance are just different avenues of exploring intimacy. neither is inherently more valuable than the other, and neither is inherently more problematic. and if you truly believe in dismantling amatonormative beliefs, you would recognize that making a distinction between the two is only perpetuating the problem, not challenging it.