#it is interesting what the difference between responses is

[nochepsicodelica]

You and Toji are sitting at a table at a bar, talking about different things that went on throughout your days over some drinks. Toji tells you about how Shiu's been a real asshole lately, because his marriage is hanging on by a thread and he hasn't gotten laid in almost a month. He gives you a look that you interpret as him saying 'thank fuck that's not us' to which you respond with a little smirk.

When it's your turn, you tell him about how the new hire broke the copy machine, knocked over and broke the water gallon for the water dispenser, and crashed into someone, spilling hot coffee all over their shirt, all in the course of one day.

"That poor fucker's cursed," Toji says, amusement riddling his expression as he brings his glass of whiskey to his lips.

"He looked like he really needed a hug by the end of the day," you add, biting back a smile, before you take a sip of your own drink.

"Tell me you didn't," Toji says, taking in the seemingly telling look on your face. "Ma."

"I'm kidding. It's jokes, baby. I have no interest in hugging someone I haven't spoken a single word to."

Toji flicks your forehead, watching with a grin as you bring a hand up to rub the sting away. "Gotta piss, be right back, doll. Want another drink before I come back?"

"I'll wait for you to finish yours," you say, to which he nods before standing up from his seat.

"Be right back," Toji repeats, affectionately setting a heavy hand on your head, before he heads off in the direction of the restrooms.

You pull your phone out of your pocket and scroll through your socials while you wait. Altogether, Toji was gone for no longer than four minutes, and yet somehow, that was enough time for a rando to pull a chair up to your little table and start a conversation with you.

"Hey," he starts. "Why are you sitting here looking all lonely?"

You turn your head to face the person with the unfamiliar voice, slightly widening your eyes as if to question if he's talking to you. He looks at you with raised eyebrows, awaiting your response. "Oh, i'm not here alone. My boyfriend is in the bathroom," you respond, with a polite smile, before returning your attention to your phone.

"Ah. What kind of man leaves a pretty thing like you by herself in a place like this?" The stranger says, in a tone that almost seems pitiful towards you.

You look at him again and attempt to keep your expression neutral. "He'll be back any second now. He's just taking a piss, i'll be fine. Unless you're here to make things troubling for me."

The man chuckles, entertained by your quick shift in tone. "With a feisty attitude like that and a pretty mouth to keep up, it seems like you want me to get you in trouble."

You furrow your eyebrows, blatantly offended by his inappropriate insinuation. It's disturbing to see how he turned your warning into something sexual.

"I already told you, I have a boyfriend. Try someone else," you respond, no longer hiding your irritation.

Toji scans the room for the table you're sitting at, locating you and who-the-fuck in three seconds. This man looks awfully cozy with you, leaning in close every time he speaks to you, so he doesn't stand around any longer and quickly makes his way back to you and this new "friend".

"You sure you don't want another drink, doll?" Toji asks, sitting down in front of you, again, his gaze darting between you and this pocket square looking man. There's a difference between your demeanor from before he left and now. You clearly aren't comfortable, anymore.

"That's it? That is your supposed boyfriend?" The man asks, attempting to minimize Toji by referring to him as if he's nothing in comparison to himself. "Oh, princess. You see this watch?" He asks, raising the cuff of his sleeve to fully reveal his golden watch. "Four thousand dollars, and that's chump change."

You look at Toji and pull his hand into your shaky one, giving him a forced smile. Toji keeps his eyes on yours as the stranger continues spewing arrogant sludge about how much money he makes a year and how even the luxury car he has parked outside didn't put the smallest dent in his wallet.

"You would have it so good with me, baby," he continues blabbering. His hand goes to your wrist, a gesture that Toji quickly puts an end to by aggressively shoving the man's hand away, your empty glass clattering on the table from the force. Toji would have snapped the man's wrist and twisted his hand off, but he didn't want to scare you with the bloodshed. He feels like he's buzzing from the anger bubbling inside, and surely it won't be long before he acts out.

"Don't fucking touch her," Toji spits, glaring at the man with an expression that would have put him six feet under, if looks could kill.

Your heartbeat is in your ears and your blood is boiling. This man is disgusting for being persistent towards someone who doesn't want him. It's masochism, at this point, with the amount of times that you've made it clear that you're not interested.

The man snorts, snobbishly. "He brought you here, of all places. Even just glancing at him, you can tell this cheap ass place is all he can afford. He'll never be able to give you everything you want, so just come with me, doll face."

You rip your hand out of Toji's grasp and stand from your chair, delivering a resounding blow to the man's already hideous face. Tables and chairs wobble as he tries to keep his balance, but when you quickly strike him again, hard enough to increase the pain you felt in your knuckles with that first hit, you manage to knock him onto the ground.

"Fuck you, you fucking asshole. You don't know shit!" You grit out, dropping down to try and land another hit to the man's bleeding face. By now, Toji is behind you, restraining your arms and pulling you back as a small crowd begins to form to observe the commotion.

"Ma, come on. Let's just go."

"Let me dent his fucking face in, Toji," you mutter, writhing in his grip.

The vile man manages to sit up, dabbing his fingertips against his busted lip. Though there is red blossoming on his face, his lips still form an amused, twisted smile. He laughs as he watches you get reeled back by Toji, seething as you are dragged away like a child having a meltdown in the middle of a store.

"Hey-- Hey, I said let's go," Toji says, his tone sharper when you continue to try to break out of his hold to fight the idiotic sociopath.

You take a deep breath and stop, willingly letting Toji take you away from this chaos you created in his defense. His hand rests on the nape of your neck, as he guides you through the stuffy bar and leads you outside to the car.

"Stop pacing," Toji says, watching as you threaten to make the asphalt beneath your feet waste away with every step you take in your heated state.

"Fucking asshole, dickhead, motherfucker." You groan, loudly, furiously, before covering your face with your hands. "It's fine, it's fine," you mumble to yourself.

"Then, stop pacing," he repeats, watching on as you walk the same steps, over and over, as if you're on autopilot. "Ma, eyes. Eyes." His hands go to your shoulders, manually forcing you to halt your movement. "Listen to me. I said eyes."

"I'm so... I can't stand still," you say, weakly.

"Stop looking around. Right here," Toji instructs, lifting one hand from your shoulder and pointing two fingers at his eyes. You release a shaky puff of air and hold his gaze as best as you can.

"Talk when you're ready," he says, following your eyes whenever they derail from his.

You aren't ready soon enough. You feel like your heart is trying to burst out of your chest and the adrenaline coursing through you isn't helping at all. Your hand hurts. Your knuckles feel bruised and they're bloody. The night might be ruined, but you felt your reaction was the only way to release the pain you felt when that nothing started talking the way he did about Toji. All you can think to do is hug Toji to prevent yourself from crying about your cause for attacking the gross man. It's all so much. You've never felt so strongly for someone, to the point where you hit a stranger for insulting them. It's scary how Toji brings that defensive, yet, offensive side out of you.

Strong, heavy arms reciprocate your embrace, keeping your tense body close. You feel warm and safe, his scent and the pressure of his hold managing to slowly calm your unsteady heartbeat. After a few seconds of quietness, you turn your head and rest the side of your face on him, finally prepared to speak.

"I didn't like how he was talking about you, Toji. He was talking shit even before you came back, and I hated it. I hated it so much, that I felt nauseous and if I hadn't done something, I would have been sick."

Toji sighs, not out of disappointment or feelings of that sort, but because you seeking out danger for his sake, was not something he ever wanted to see.

"Doll, you know how much I love you."

This sounds like a layer of sugar preceding a talking to. You're trying not to be nervous before the scolding even begins, but you feel the need to brace yourself, as well.

"I love you, too," you mumble.

Toji knows it. He's known it all along, and the events that transpired tonight were just another way of you proving your love and showing how much he matters to you.

"Want you to look at me," he says, lowering his arms on your back, allowing you to make the space necessary to give him your attention. He offers you a soft smile. "Don't get all fidgety on me after you just ripped a stranger's face open."

"I feel like you're about to yell at me," you say, lowly.

That makes him want to laugh, but he keeps his amusement to a minimum, since you're clearly anticipating something terrible.

"Nah. When have I ever raised my voice at you?"

"Never."

"Exactly. Never, and I won't start now, but I want you to get this through your pretty head... It's not your job to beat people up for me."

"I know, but-"

Toji shakes his head. "Hold on, mama. Let me finish talking, then it'll be your turn."

Your heart feels like it's in the depths of your stomach, but you nod, and allow him to continue talking.

"I'm not mad at you, i'm not gonna yell at you. Just wanna keep you safe, is all. That guy was already a fuckin' weirdo, harassing you like that and trying to get you to go with him while I was right there. I wouldn't be surprised if he was into hitting women, too, if he's so comfortable with making them uncomfortable."

It's quiet while you think of what to say. You don't want this to escalate into something that turns you against each other, when it started out as an act of love. You could argue about how you did this to defend him, but in the end, you know his own need to protect you, will stomp all over your arguments.

"I'm sorry we had to leave, but i'm not sorry for the reason behind it. I don't regret what I did."

"Ma..."

"No, Toji. He didn't even know you and yet he still said things that aren't fair." Your voice quiets down, the beginnings of stronger emotions threatening to outwardly reveal themselves. "He insulted you. He questioned your abilities as my boyfriend when he saw me alone— even after I told him you just went to the bathroom. He judged you superficially, he said you can't give me everything I want and--" you pause, interrupted by a shaky inhale and the painful lump in your throat. "Sorry," you mumble, when the first set of tears roll down your cheeks.

"No, you're alright," Toji says, in response, his warm hands coming up to cup your cheeks, thumbs wiping away your fleeing tears. There's a small pinch in his brows. Why are you crying? It's something he can't ask you, because he knows that if he makes a big spectacle out of it, you'll end up drowning in your tears and shutting down everything you have to say. He resorts to keeping your cheeks dry and encouraging you to keep talking.

"Go on, mama."

You sniff, before picking up where you left off. "I don't care about all that, Toji. I don't care where we go to spend time together, because we're together. I need you, not for you to buy me things or take me to fancy places. That's not what I'm with you for."

Your heart is beating fast, again, its rhythm no longer controlled by fear or nerves, but instead the focus that Toji has on you. He's good at holding eye contact with you, something that occasionally gets distracting if you become too aware of it. You notice that his expression is softer. Maybe it's your brief flash of tears or the way you are always subconsciously finding a way to indirectly recite some of the reasons for why you love him.

"I love you, Toji. That means I won't just sit around and let someone talk about you like you're worthless. And I know, I know you can handle things like this on your own and you don't need me, but it was hard to listen to that."

You pause, as if to give him a break from your bulldozing heart. Silence takes over the moment, both of you just looking at each other. Toji's speechlessness has you wondering if you spilled too much of your heart out to him. You know some things are better left to be figured out, such as the range of a person's love, and yet you just poured without measure. "You can call me crazy if you want to."

Toji's shit-eating grin is unexpected, but it's definitely a sight that lifts some of the heaviness you feel in your chest.

"You love me," Toji says, still smiling like a doofus. He knows your serious facade will crack if he looks at you like this for long enough. He can already see a shift in the expression of your eyes and the way your lips are pressing together just a little more. He tilts his head slightly, a gesture that pushes you even further towards that pretty smile he wants to see. When you finally crack and give into his charm, you do so with a mutter of 'you're so dumb.'

"I'm glad that's what you got out of my rambling," you say, wholeheartedly and in better spirits. Toji pulls you in, this time, his soothing warmth and familiar scent tangling around you, again. His chin rests on top of your head and his arms secure themselves around you, tightly.

"I'm not gonna call you crazy, ma. It's not what I think. Also, don't go saying things that aren't true. I do need you," Toji says, his voice level kept at an intimate volume, as if there are other people there in the parking lot with you. His words are solely meant for you to hear anyway and getting them to you in this manner ensures that you won't go home with your heart feeling heavy, after a talk that was meant to comfort you.

"You know, I don't care what other people think— and that's not to say I don't appreciate you throwing a few punches for my sake. You're a sweetheart and you care so much, but if it's a stranger saying some unimportant, dumb shit, it takes a lot for it to actually get to me. If it really bothered me, they'd be gone."

"Yeah... I know," you mumble, into his shirt, knowing you would do it again and again— countless times. You loosen your arms around Toji and he does the same, his hands dragging towards your waist after you separate.

"How's that hand?" Toji asks, picking your wrist up before you can even respond. He whistles at the sight of the slight swelling and the dry specks of crimson spotted over your knuckles.

"A little tender," you say, feeling a tinge of fear when his other hand lifts off your waist to feel the damage.

"Looks real good on your pretty hand," he says, dragging his index finger over the protruding bones of your hand.

"Does it?" You ask, your barely there smile falling when you wince at the little bit of pressure Toji applies.

"No," he responds, bringing it up to his lips and pressing a kiss to the sore area. You wince again when his thumb drags over your skin with slightly more pressure than before. "It doesn't. We'll ice it when we get home, alright?" He lets up on the torturous touching, but keeps your hand in his. The words aren't meant to hurt you. He doesn't mean them and he hopes he communicates that with the way he still opts to hold your hand. Your hands will always be pretty to him, he just can't say that to you, right now. Not if it serves as the smallest bit of encouragement for you to repeat what happened earlier, in the future.

"Okay." You nod.

"Gimme a kiss and we can go home or wherever, if you wanna stay out."

You tilt your head up and wait for his lips to meet yours. It's a gentle brush of lips, but the second Toji's hands start slipping under the back of your sweater and your shirt, you know it's going to be more than a single kiss. You can feel the night's cold wind nipping at your skin, as his hands go higher up, his fingertips reaching just below the hooks of your bra. To your surprise, he unhooks the garment, causing you to quickly press your hands to your chest when the cups loosen, to prevent them from fully sliding down.

"Toji," you manage to utter out during the wave of kisses. You turn your head, receiving a kiss that was meant for your lips, on your cheek.

"Yeah... I think we should go home," he murmurs, against your skin. "Maybe we can rock the car a little bit before we go, hm?" Toji smirks when you let out that flustered giggle he's so familiar with. He presses another kiss to your cheek before you turn to face him, again.

"Okay, but let's not blow it all here. We have a nice and comfortable bed at home. Let's add another good night to it."

You don't miss the way Toji's lustfully lidded, green eyes, keep glancing down at your hands on your chest, or how he's mindlessly caressing your bare waist, under your shirt.

"Alright, ma." He pulls out his car keys and with the press of a button, the car unlocks with a beep and the brief, dull sound of flipping locks. "Get inside."

[copperhawks]

You're not the first person to make this comparison on this post, but when I wrote this, I hadn't done a re-read of SOTL yet (and the last time I'd read In the Hand of the Goddess was... a LONG time ago, so I couldn't really make a good comparison between these two scenes), but I have now and I've been sort-of thinking this over and have some thoughts on it.

For me, this isn't so much an indication of them being similar so much as it is just an unusually similar narrative beat. A character chooses to disobey an order about not crossing a border during a war in order to go save someone who has been captured and, in so doing, takes out a major antagonist that leads to the end of the war.

But the MOTIVES behind the two actions seem very different to me. Jon goes to save Alanna because he's in love with her and can't bear to lose her. Kel goes to save the refugees because she's responsible for them and takes that extremely seriously. She does CARE about the people, obviously, it's still being done out of love, but she's not doing it because she can't stand to live without them so much as that she's INSANELY duty-driven. She goes up to save Lalasa for similar reasons after being told that a noble's duty to their servants is basically sacrosanct. Kel goes across the border because she believes it's the honorable thing to do. Jon's motives aren't about honor and are, arguably, somewhat more selfish in origin.

So while this is obviously a very similar storyline, I don't find that it's an example of these two characters being similar to each other.

Kel is willing to give up EVERYTHING out of a sense of duty to the people she's responsible for. While Jon is someone who does a LOT of things for his people and spends a lot of his time and energy making life better for them, I can't recall a moment where Jon is ready to give up everything he wants and everything he's worked for just to save his people. Jon actually tells Kel in Squire that he and Thayet work pretty hard to keep themselves OUT of that kind of danger whenever possible, that's the point behind all of the compromises. All of the arranged marriages for his kids are to try to ensure peace through political connections and stop fighting in wars.

This is where they DO differ because Kel feels like someone who, at least at this point in her life, is willing to die to protect her people. But Jon is someone who will do whatever it takes to LIVE for his people for as long as possible. Jon understands that, in his position, it's more beneficial for everybody for him to make compromises in order to stay alive so he can keep making changes that will make people's lives better in the long run. This is a lesson that, while we do see Kel LEARNING it a little during Lady Knight, isn't one that really plays into the final conflict of the book. It's possible that Kel will end up being even more like Jon in this way as she gets older, more willing to stay back herself and trust others to do what needs to be done in her place, but by the end of Lady Knight, that just isn't who she is yet.

And maybe that's what's interesting about the comparison. Kel isn't all that much like Jon YET, and she's certainly not all that much like Jon when HE was 19, but Kel shows signs of being a lot more like Jon as he is during HER series as she gets older and gains more experience. Kel is very righteous, very inclined to just act and get things done, but over the 9 years we get to know her, she has to learn more and more about when to act and when to WAIT. She has to learn when to push and when to bend a little.

As a woman, she's going to be held to different standards than her male counterparts like Raoul or Wyldon, she'll be dealing with different limitations and setbacks than they ever did. And so her approach to leadership will, by necessity, have to be different than theirs was. She does look to them for inspiration, but in execution, I think she'll likely end up far more like Jon. Jon is obviously not a woman himself, but as King he's ALSO held to different higher standards than his compatriots and he was very young when he took the throne and has been very progressive throughout his reign which means he's dealing with certain limitations and setbacks that more conservative people might not.

Kel has strong opinions and firm ideas of what the world SHOULD be like, and that's going to lead her down a similar path of trying to CHANGE things, but she'll be dealing with all of the same limitations that Jon is, which will force her to approach things the way he does. She's going to have to compromise, she's going to have to bend, she's going to have to learn when a fight is worth having, she's going to have to learn to give a little in order to get a little later.

Kel would probably not have crossed the border for just one person. If it had been Neal, for example, and Neal alone, she may not have decided to take that risk. Neal is a trained knight like herself and probably won't thank her for giving up everything to come save him. Kel could probably have been convinced not to cross the border for him, as much as it would've pained her. And Jon I think would not necessarily give up everything to save a few hundred people the way Kel did, even though it would pain him to have to make that choice.

Kel IS like Jon and will likely become even more so as she ages, but crossing the border just isn't one of those places where their similarities are showcased to me.

The funniest thing to me about Kel, and maybe one of the most interesting because of how understated it is, is that Kel becomes a good commander in the end, not by emulating Wyldon who was cold and implacable and insensitive, or by emulating Raoul who mostly only disobeys orders out of principle or because he has an issue with what the order says about his personal relationship with Jon, but by emulating JON.

Kel doesn't even LIKE Jon, she BARELY respects him as a person. He's a good enough ruler that she's willing to fight for him and swear loyalty to him and to at least mostly believe that he wouldn't work with Blayce to make his own killing monsters, but that's as far as it goes for Kel. If he's kind to her, she finds it uncomfortable and almost untrustworthy because she assumes he doesn't care about her and so his kindness and respect towards her must be fake.

But from the outside, as readers, we know just how much Jon fought for Kel. We know how much he does respect her right to be a knight. Jon is the sole reason that Kel DID get the opportunity to prove herself, if he'd capitulated to Wyldon completely, she just wouldn't have ever been allowed to join. Kel doesn't KNOW THAT, obviously, but we do. We know that Jon did everything he could to find a way to convince Wyldon to let Kel become a page. While Wyldon claims later that the reason he chose to let her stay at the end of the probation year was because his better judgment convinced him she'd earned it, I'd be willing to bet that part of that better judgment also included knowing if he couldn't prove to JON that she needed to go, then he'd be in trouble. Kel was training and working in front of plenty of other trainers and teachers who could easily contradict Wyldon's lies if he'd tried it, many of whom are closer to Jon than they are to Wyldon.

Kel's experiences and feelings about that experience are entirely valid, and she doesn't have the knowledge we do about how hard Jon fought for her, so it's not shocking that she's upset with him for a good portion of her series. She never even discovers this truth by the end of her series, even though she does get a lesson from Jon and Thayet (and Raoul to some degree) about how politics and compromises work in order to make changes happen. So her opinion of him by the end is boiled down to the quote from Squire: "good kings weren't always good men." It makes sense for her to think this, but because Kel's knowledge base is so limited (and her worldview so black and white for much of her series), it makes her an EXTREMELY unreliable narrator about this particular issue.

Kel believes that while Jon generally does his duty and keeps the peace, he doesn't actually care all that much about his people as individuals. But in their only meaningful conversation in Squire, Jon is able to point out that he (and Thayet, who is actually equal to Jon in power, something Kel either doesn't know which would be a failure in her education or just tends to ignore so she can focus her ire on Jon) has to make a LOT of compromises in order to get ANYTHING useful done at all. Sometimes, often, it means making deals with people he doesn't like or people he just fundamentally disagrees with, because it's the first step in a multi-step plan to help more people in the long run. He also points out that just throwing his weight and authority around in order to be able to change everything he wants to change immediately regardless of what anyone else thinks about it is a great way to get himself and his family killed. Because even if he had good intentions, that would be tyranny. It does make Kel think a little, but she doesn't tend to like him much still afterwards, her resentment from her page years will always color her opinion of him a little.

However, then she gets to Haven and she's suddenly tossed into a position of leadership over a lot of other people, many of whom disagree with each other or disagree with her or both. And all of the sudden, Kel has to make compromises. She doesn't LIKE the way the sergeants often treat their men, especially the sergeants whose men are convicts, but there's very very little she can do about it without really pissing off those same sergeants and that's not something she can afford to do. There's a moment when Neal starts getting frustrated about the treatment of the convicts and she takes him out to vent to her so he doesn't vent to the sergeants, something that the sergeants would then take out on their men. Kel's reasoning as she does this is that she "preferred to avoid battles with them now so she would have authority with them later if she needed to use it." Later, Kel is talking to Daine and she says "That's all this job is... Trying to please everyone and pleasing no one. And it will only get worse, not better."

Both of these moments showcase Kel choosing to make compromises. She may not like the way the sergeants treat the convicts, but she needs to stay on the sergeants' good sides because she doesn't have enough resources to butt heads with them nor enough authority to just force the issue, and even if she DID, it could cause the sergeants to become troublesome or take out their frustration with her on the men in ways she can't see as well. But staying on the sergeants' good sides might mean letting some of their maltreatment slide if it's not physically harming the convicts. And even setting that aside, she's dealing with nearly 500 refugees eventually, all of which are from different towns in the area and have different needs, not all of which she can accommodate. This requires compromise. Sometimes she can please some of them and not others, but mostly she probably just ends up not pleasing anybody because that's often how compromises WORK.

She never makes the active connection to Jon and his lesson on leadership from Squire while she's in Haven, but that quote up there about how this job (aka being a commander) is all about trying to please everyone and pleasing no one? It sounds a HECK of a lot like "good kings weren't always good men." You can try your best to help others, but often doing the right thing can involve making everyone unhappy. You can't be everybody's friend if you're going to get anything done.

Some of this she might've learned from Raoul's style of command, but Raoul commands a fairly small amount of people (at least in comparison to a King), and so we see him able to be pretty friendly to the people he commands in a way that Jon is perhaps unable to do. And she might believe that she learned some of this from Wyldon, but Wyldon had a tendency to be very unfair and biased due to his raging bigotry and conservative values, as well as the fact that he doesn't actually even LIKE being a training master and that likely impacted the way he treated the pages (he's almost never that kind to the pages, whereas we see him capable of being quite kind with the refugees later, which is where Kel comes to the conclusion that he hadn't enjoyed being a training master).

But Jon makes an entire speech about how he (and Thayet) have been working THEIR ENTIRE REIGN to change laws that help people. He explains how they have to consider the needs of merchants, nobles, farmers, street people, priests/priestesses, and mages. They have to consider not only what these people might need or want, but also what they could do when they feel sufficiently offended and how that could impact not just the royal family or the nobility but the realm as a whole. Jon points out that they HAVE made changes, for the better, and that just because they don't always succeed at everything or because they have to compromise sometimes, doesn't mean they aren't working at making changes or that they don't care about helping people. Not everyone you have power over is going to be your friend, they might not even be someone you like. But if you're going to take on the job of leadership, that's something you have to be willing to accept and work with, which often means making compromises with people whose needs and values are contradictory to your own.

Jon probably knows when he makes the compromise with Wyldon that it will likely impact a lot of people's good opinion of him. Alanna is right there and clearly angry, and we know Thayet doesn't like the decision, either. And it's entirely possible that Jon knows in the moment that Kel herself will put the blame on him because he's the King. But he also knows that if he insists on Kel being allowed to be a page without trying to compromise with Wyldon, Wyldon will quit over it and he'll end up with ten DIFFERENT problems that could cause a lot bigger issues to far more people than just one girl. So he makes the compromise. He sacrifices Alanna and Thayet and even Kel's good opinion of him in order to ensure that Kel gets the opportunity to become a Knight without turning all of his nobles against him which could ultimately lead to a civil war. Is it fair? No, and he knows it. But it's the best option he has in order to get the outcome they all actually want which is just for Kel to have the chance to prove herself.

Kel has to make similar choices once she's finally in a position of leadership of her own. And whether she realizes it or not, without ever even spending more than a few minutes with Jon, she ends up emulating his leadership style more than anybody else's because it WORKS and it works WELL. She'll probably never admit it, she might never even realize it herself, but she's so much more like Jon than any of the other men she sees as role models. And I love that. I love the dramatic irony of that, that the one person Kel only barely respects because of a compromise he made on her behalf that she'll never even know about, is the person Kel ends up most resembling. Jon is the reason she has the opportunity to become the Protector of the Small in the first place, Jon is the person who created that environment that allowed her to nurture those values, and she'll probably never even really be able to acknowledge that, because sometimes that's what being a good leader means.

[visibleclosedeyes]

Gap in my heart (Literally)

pairing: Mr. Gap x reader

“Hello”

While you prepare to work in your bedroom–doing your makeup and hair, putting on your uniform–ready for the day ahead, a chilling but familiar voice calls you. 

“Mr. Gap? Uh. Me not play,” You said without turning your head toward the voice. Since the day you managed to get out of that  Otherworld, Mr.Gap has consistently shown up in your space in the gap in the wall, in different containers, and so forth. At this point, you kinda have a domestic relationship together. Boyfriend? You wouldn’t go that far, but something is there. 

“Disappointed” Mr. Gap narrowed his eyes before asking another question 

“Where go?”

“Same place every day, Mr. Gap. Working. uh–Me work, same work.”

“Why?” He asks, eyes still narrowed–displaying an unreadable expression that you guess to be some kind of discontentment. It surprised you really–Mr. Gap isn’t a high-maintenance type and he never asked you these questions before. What changed?

“Uh…Work hunger gone,”

“Work stop hunger?” He seems interested now. 

“Not exactly. Work gives things, and things get food.” You try again to explain to Mr. Gap the concept of monetary exchange and bill to the best of your ability. 

“....not understand, residents don’t need work. Why work?”

“Humans need work, me human…Mr. Gap, why curious now?” You ask a question of your own. 

“Me bored, Stay,” 

“Can’t. Need work,”

“Disappointed” He responds, the conversation sounds like it goes back to the very beginning. 

“Give finger?”

“No,”

“Disappointed” He repeats yet again before disappearing. 

Working is hard. Living in the human world is hard. You know this already but it seems like every day her co-workers really remind her of that fact. Today is just another day of demoralizing work days. Getting yelled at by your boss because of your co-worker's mistake is not fun. In the parking lot, you are sitting there with a cigarette between your fingers contemplating whether or not to murder your co-worker, literally speaking. Suddenly between the gap in the wall opposite to you, a familiar pair of eyes pop up.

“Hello”

“Mr. Gap??! How did you..? Oh right, you can show up in any gap,”

“Human trouble?”

“Its nothing, just hard day at work,”

“Me solve problem, give me finger,”

“What? No! Not give finger,”

“Boring. Goodbye,”

Almost every day was the same old same old—your co-worker is an annoying asshole who purposefully caused issues just so he could blame it on you.

“Where are the documents the boss asked you to do?” Speaks of the devil… the most annoying face among the co-workers in this shitshow of a company has shown up like a fucking ghost the moment she starts thinking about her job

“What? What documents?” She answers truthfully. What fucking documents? And why is she hearing this just now?

“Seriously, the boss wants you to be the one to do it. you’re seriously irresponsible. Why did they even hire you?” He said with such a fake shocked expression on his face. Wait, so the boss told him…

"Boss told you this and you never told me?” she asked him in disbelief

"You never ask me to tell you, you should have been more active,” He snickers with a smug smile. Oh, this irritating fucker.

2 months and 1 week. She has sworn off killing people for exactly two months. Like a proud ex-addict, she wears that pride quietly on her mind, unable to announce how prideful she is for not killing some random pedestrians who show up in an abandoned apartment. She wants to keep it that way, but this man seems to be testing her patience. She is going to lose it and kill this guy on his way home. 

"There is still time left. You can take responsibility and be active for once. Give me a call once you are finished!”

your palms curl into a fist full of hate and rage–this man has no idea who he is up against. She fantasizes about the different ways she would go about killing him. Her regular method of a crowbar to the head would be the safest route but this guy is a piece of shit to her so far and she wants to do something special for him.

No, she doesn't want to kill these days. Hunting and killing seems to be a hobby she lost interest in a while ago. Now, she simply wishes for a more simple life after all those lives she proudly took. 

(not finish)

One day, when she was working as per usual–she hears the sound of that asshole screaming from the restroom

"I swear! I saw it there! a pair of creepy eyes between the crack in the wall inside the male restroom!”

"some pervert looking into the male toilet?”

"No! I…I don't think it's human–when I saw it, it just disappeared into thin air!”

"I think you should go see a doctor”

“Yeah, are you I'll or something? Did you hear a voice in your head too?”

“S–shut up! Stop mocking me! I fucking saw it, Ok?!” 

It seems like vacation comes to visit you early this year as she hears one of the best but most shocking of all week. Her asshole co-worker has decided to quit, it also seems like he has been scared shitless and borderline losing his mind at something that most people don't seem to understand. Many think that he cracked under constant pressure but she has a better idea of what might have happened. She didn’t think to ask of him at this current time but it seemed like he could read her mind somehow when she found him manifesting in her bag, a pair of gleeful, teasing eyes with an otherworldly smile somehow made her heart skip beats. 

“Mr.Gap!”

“Hello. Me good resident.” 

“I heard about the haunting spirit between the wall’s gap in the male bathroom—did you do it? The guy who tormented me quit”

“Me solve problems, me good resident,”

“Yeah, that was a good one. Good, thank you”

“Give good resident finger?”

“No”

“Disappointed”

[bitchslapblastoids]

interesting but predictable how some of the inherent uncanny valley strangeness of bringing something that exists in the chronically online space into the real world can manifest. I’ve noticed this at all the other tours of theirs as well - some people can have a hard time separating internet behaviors from irl behaviors, and the sudden merging of these compartmentalized ways of being (online vs offline) can be hard to navigate.

I think it can also make people uncomfortable to see their comedic silly billie faves being serious, and there’s a dissonance to seeing them, these characters who live on our screens, along with the audience around you who are typically just avatars and usernames shitposting in lowercase, all suddenly in the same physical room. And suddenly that often completely disparate, scattered, semi-anonymous community needs to adapt to social mores and group norms in a new social context. It’s taking a community with its own set of rules that were designed for and in response to a digital landscape and plonking it into a completely alien environment. And yeah, we’re all humans who exist in public outside of our internet lives, but it’s different when that happens but you’re still in the context of the phandom.

Which I think is what leads to things like shouting out rly profane, out of pocket things during the quieter moments of their shows. because if you comment something like that online, you won’t rly be interrupting anything. you might be ignored, you might get some laughs, maybe you’ll get a notice bc haha unhinged right. Or like treating an evacuation drill as a lol pass the tea yas mommy daniel moment instead of an oh we’re actually here in real life moment.

I went back to my tatinof review bc I remembered writing this - “someone behind me kept screaming at them to "GET NAKED" (particularly during silences in the 7 second challenge) to which everyone in my area responded with claps and laughter.” During my second TIT show, there were people around me who wolf whistled and shouted “kinky” and “ayo ok freaky” during totally inappropriate moments. I remember during Dan’s quieter bits of WAD people could not seem to just stay silent. (I have suffered complete amnesia when it comes to ii so I can’t speak to any part of that experience lol.) after the preshow and during intermission at tit, I heard separate people at separate times making a range of critical comments about Dan and Phil’s bodies in ways that were downright shocking and not how I hope they’d typically feel comfortable speaking about other humans.

I think on the whole, phannies are so lovely and kind to one another. I feel deep gratitude for this community. And I know this isn’t just a phandom thing; I think how we treat one another in public spaces has generally really eroded, and concert etiquette has become abysmally poor. But phandom, as always, is a little unique, because of the sense of mutual understanding and the co-created dynamic between us and d&p. It dissolves the boundaries, so when Dan tells you to shut up, your online brain tells you that’s just a chance to be funny with your fave. When you have a chance to be heard, your online brain provides a memey shitpost joke and your irl self shouts it out even though that ain’t the move in a theatre performance unless invited to do so.

No real conclusion here, just some observations about the rly unique dynamic this all creates!

[saras-almanac]

So I wrote this post the other day about my feelings on the handling of the BuckTommy breakup (which you can read here if you want). And @parrishjeanna reblogged with a link to an article from Tim. I wrote out a reply to it but it became so long I needed to put it in a separate post because it’s over 3k and I need to put it until a readmore.

Okay so I did read that article thank you @kawaiifacesong for linking the not generating revenue clicks because I don’t like reading any articles for 9-1-1 because it’s literally all buddies who can’t ask anything about the show. (Case in point, in this particular interview, the interviewer brings up “The Couch Theory” because Buck and Eddie sit on a couch.)

So this interview was trash for many reasons but I’ll narrow it down to three for the sake of this response: Biphobic nature of the breakup and aftermath, what’s being said in interviews isn’t what we’re seeing, and Tim writes as he goes so there’s no actual plan going forward.

First: The Biphobic Nature of this breakup is still moving full swing.

The idea that Buck is “still figuring himself out” and needs to explore is insulting in so many ways—especially to myself as a bisexual lady in my 30s. Firstly, being in my 30s, the idea that you need to figure yourself out still is absolute bullshit. Yes, you can still find new things out about yourself and make some changes, but usually by this point in your life, you have a pretty decent handle on who you are as a person. Which Buck does have… and we’ve seen that? So it has to be a reference to his newly discovered and realized sexuality.

Which, AGAIN is so biphobic and plays into incredibly harmful bisexual stereotypes that bisexuals need to “explore” to figure out what or who they want. This means either they need to fuck around and make sure they’re really bisexual. OR they need to get enough experience with their same gender to then be able to have a same-gendered relationship. Both of which are insulting and harmful. This idea that Tommy couldn’t possibly be a lasting relationship because Buck just came out as bisexual is wrong. It’s fine if they didn’t want Tommy to be a long-term love interest or even an end-game love interest, but why couldn’t they have done it differently, to hopefully not play into these harmful stereotypes that are still incredibly prevalent today.

Now do I think they fully intended it to play out as biphobic as it is? Not really, but I do think that the heart of what they wanted—Buck exploring his sexuality—is inherently biphobic because of the way they have chosen to go about it. There’s a world of difference between having Tommy break up with Buck so Buck can go exploring and having OS and TM saying similar things in interviews and Tommy and Buck breaking up and Buck getting back out there and dating around. Which if they had given it just a smidge of thought, I have to hope they would have come to that same conclusion and maybe gone about it in a different way.

Second: What Tim’s saying in interviews about what’s happening on the show and in these storylines doesn’t match up to what we’re seeing

I’m going to paste the few paragraphs related to BuckTommy break up here, just to read. I have bolded what I thought was important and what I’m going to talk about after it.

“Look, I think the breakup was premature, but that was by design. For me, the story that I was trying to tell was here’s a guy, Tommy. He’s not a main character on the show. We haven’t done ‘Tommy Begins’ or something. But you do see him in the ‘Begins’ episodes, in flashbacks, and by the time he leaves in ‘Bobby Begins Again,’ he’s turned over a new leaf. He’s feeling more comfortable. He’s hanging out with the new people at the 118 once Bobby takes over, and they throw him a party and bake him a cake when he goes off to his new post. There was even a reference in Broken when Chimney calls him to do the water drop,” Minear explained. “But Tommy’s a guy who’s in a different place in his life than Buck is. And I think what Tommy realizes is exactly what he said, which is, ‘I’m not your last. I’m your first.'” Minear referenced the coffee shop scene in Season 7, where Buck asked Tommy to give them another shot and come to his sister’s wedding, as a point when Tommy thought, “Alright, this guy’s kind of great. He’s super hot and he’s sweet. And this will be nice. And I’m going to be vulnerable for this.” As the relationship grew stronger and the stakes grew higher, however, Tommy reevaluated things. “I think Tommy, in the end, understood that this was not forever — that Buck is exploring himself. He’s still figuring himself out. And even if Tommy doesn’t know it, he might sense the fact that Buck likes to jump in with both feet a little bit precipitously,” Minear mused. “So was the breakup premature? Yes. Because Tommy was put in a position where he had to be honest. And once he speaks the truth, which is, ‘I think I know where this ends, and I can’t move in with you,’ he’s kind of breaking the spell — the spell of that honeymoon. Tommy even says, ‘I didn’t see this coming either.’ I don’t think either one of them did.”

Okay, lots of things happening in this quote but ultimately there’s a massive disconnect in what TM thinks is happening or what he’s saying is happening and what is actually on screen—and that’s a huge problem. You can’t rely on interviews to explain things, it needs to be in the actual text of the episode.

I think the real crux of the issue is this: “Tommy’s a guy who’s in a different place in his life than Buck is… Tommy, in the end, understood that this was not forever… he’s kind of breaking the spell—the spell of that honeymoon.”

Let’s break this down a bit. Tommy being in a different place in his life than Buck… How? Buck has, since the pilot episode, been looking and searching for a stable romantic relationship—he’s always craved that and wanted that. Even in the breakup, he was thinking about their future and marriage and moving in with Tommy. Is that not what the next logical step of a relationship might be? So doesn’t that—regardless of whether it was premature or not—prove that Buck and Tommy are in the same place of clearly wanting a long-term, committed relationship? So if this wasn’t the case, why didn’t you show that? Show them having that disconnect or make it clear that Tommy’s dropping hints about their future and Buck is not in the same place so he’s not picking up on them at all. Because what we saw was Buck wanting and seeing a future with Tommy and Tommy basically telling him that the doesn’t actually.  

“Tommy, in the end, understood that this was not forever — that Buck is exploring himself. He’s still figuring himself out.” This is my villain origin point—for real. Because this is also not what we saw! What we saw, was a Buck who was so secure in himself and his relationship, arguably for the first time on this show, that he didn’t panic or second-guess anything really. He was all-in with Tommy and enjoying himself and being with Tommy. He even said that being with Tommy makes him more comfortable with himself—aka what a lot of couples say when they’re in committed and reciprocal, healthy romantic relationships—that being with you makes me happy being me. (Paraphrasing here, but hopefully my point gets across.)

Because what is there for Buck to figure out yet? He knows he’s bisexual and incredibly into Tommy. He’s happy and content with his work life and seems pretty happy with where he’s living. His relationships with his friends and family are all as good as they usually are. So what is there for Buck to still figure out? I’m left to assume that this is again only about his sexuality, which just keeps adding more to the pile of shit that makes me feel crappy and uncomfortable with this storyline.

Also, why couldn’t Buck and Tommy last? Why is that assumed to be the correct conclusion to come to? How many high school sweethearts get together and last? How many people who don’t date until they’re in their 20s-30s find someone right away and stay together? How many people come out as queer later in life because they have found someone they click with and it just makes them see more of themselves and they stay together? Sure, this is not the case with every single person in these situations, but it’s not unheard of. To me, this just feels like the show and Tim are acting like Buck is a young, 20-year-old child and now a grown man in his 30s…

What we actually saw on our screens, was two people who genuinely seemed to enjoy each other and spending time together. That had an easy and sweet relationship, where they both felt settled and comfortable together. It’s why the weird change in 806 felt so abrupt—what do you mean these two people who had amazing communication up until that point, have not talked about their past relationships at all? I think that was done as a shortcut for the writers and TM to say, “Look, see, they’re not compatible, they can’t last because they’re not talking about anything serious.” But again, my point is: then you should have showed us that beforehand, given some foreshadow or lead up to it. Instead, they chose to blindside the audience for the “shock value” and it didn’t work. Shock value for shock value’s sake never works for the audience. They don’t want the rug to be pulled out from under them, they want to see you building something and only after it’s built can they see what you were doing the whole time.

Now, I understand that they just wanted to break them up for “story” reasons (which I have no faith is going to be anything good). While I personally hate that because I feel like there would have been much more storylines and things for Buck to be involved in and it would have opened up a lot more potential stories for the future, I get that it’s not my decision to make. But why couldn’t they actually make this make sense in the actual context of what we’d seen already? If you wanted to break them up because they’re in different places, then having Buck ask Tommy to move in could have caused more of an argument of Tommy saying that Buck doesn’t really see him and doesn’t seem to understand that Tommy has a whole life outside of Buck. O Tommy could have been the one to propose moving in together and Buck freaks out because it’s too soon—which leaves Tommy to come to the conclusion that they want different things right now and he can’t just sit around and hoping Buck will catch up because it would be too hard for him to let go of Buck later. Or have Tommy literally going to a different place—whether temporarily or permanently—and so they have to break up because Buck has a whole life here and Tommy wasn’t about to ask Buck to uproot himself for Tommy…

There’s so many other ways this breakup could have gone instead of the route they went—and they would have made much more sense contextually. Instead, they went this cheapest way possible and have Buck now acting like a child about calling Tommy, when in reality and with the growth we’d seen of Buck in the past 8 years, he would have reached out to Tommy already. At least to talk things through. The baking thing was cute for an episode and it would have been okay for longer, but I’m just sitting here wondering exactly why Buck can’t call Tommy… If it’s because he’s hurt, then they needed to say that because right now, it just seems like Buck is literally being forced to not call him but the audience isn’t really sure why.

All this brings me to my biggest point. Third: I don’t trust anything that’s being said in interviews or by TM because he doesn’t write in advance and that’s a major problem

Before we get into it let me make a disclaimer: I’m gonna need every single network and studio to start requiring all the white men who write for them to actually be getting them scripts. We cannot rely on their “genius” to make sense because these scripts—especially season 8—should have had a few more passes before what we’ve seen. The only episode so far that actually felt like a complete episode was the Halloween episode.

And if this season has taught us anything, it’s that Tim not having any real plans or anything written is actually a massive problem for this show.

Now me not believing TM is not me saying that I 100% believe Tommy is coming back (though I feel like the chances are higher now with the reaction from the GA for ABC to suggest some things or at least give a closure beat to this character and relationship) This is more, nothing that TM has said in interviews up until this point for season 8 has really actually happened on screen except for Eddie shaving his moustache… Granted, I don’t read every single article with him so I might have missed something, but I just feel like he’s got no interest in setting anything up and actually paying it off in any real way.

So many people were so excited for season 8 because it was the first season in years where we actually knew so many storylines going into 8—that weren’t told to us in interviews; they were introduced in the actual show! We had Bobby/Athena’s house hunting, HenRen fighting Ortiz and trying to get Mara back, Madney fostering Mara in HenRen’s place, Eddie dealing with Christopher leaving, and Gerrard back at the 118. Any one of those storylines would have been so amazing to really see explored and fleshed out. Instead, everything was basically settled and done by episode 4—apart from Christopher and Eddie resolution and Bobby/Athena actually moving in / building. To me, as a writer myself, that decision to rush though those other stories was a massive massive misstep. There was so much there to explore and delve into that could have been so satisfying to watch and really reap the emotional payoff.

Instead, we had like 2-4 minutes max of processing HenRen not being able to see Mara again before they were all reunited. Not that I wanted to see HenRen struggling again in this way, but it would have been different and they could have put some humor into it with Karen suggesting they tail Ortiz and try to find things out about her—or Hen comes back from a shift to find Karen has stayed up for 38 hours tracking every single facebook post from Ortiz and her family to try and find something they could use and she’s the one who uncovered the link between Ortiz and Gerrard, which then promts Hen to ask Buck as Gerrard’s specialist boy to ask for a favor or try to convince Gerrard to help them deal with Ortiz.

And Maddie and Chimney having Mara would have been so interesting to see them actually having conversations about what they want for their family going forward—do they want more kids, do they not? Are they wanting to try naturally or adoption? And then Mara being with Chimeny could have also added another layer of tension between Hen and Chimney with Hen being jealous that Chimney is raising her daughter.

I mean Eddie… the fact that it took 8 episodes (basically) for him to actually acknowledge that he needs to do something to be a part of his son’s life is a major problem as well. It makes me not want to root for Eddie to reconcile with Chris because he has shown hardly any initiative in actually confronting what he did and the actual reason why Chris is so upset and feels betrayed. There was a little in 6, but that’s sort of it.

Bobby and Athena, they just don’t seem to know what to do with them anymore. And that’s a shame because there are so many things they could do—namely my favorite thing which is give them more comedy to do! They are so funny together (cruise ship is one of my favorite things). Or they could have had the first few episodes be them sort of couch surfing through the firefam and be a fun little runner of “we really need to figure out what we’re doing.” Even their storyline of their house burning just doesn’t seem to be a thing anymore.

Buck, it would have been so amazing to see him dealing with the work stuff more and having Tommy to lean on, to see Buck who’s been pretty secure in his work for the past few seasons now dealing with Bobby being gone and Gerrard there, just really gets him thinking about the future. Or even the comment about budget cuts, why was that never brought up again? That would have been so interesting to lead up to the midseason finale, which of the 118 is going to get laid off? And Buck being in such a secure spot maybe he volunteers because he wants to explore something outside of firefighting and/or because everyone else has kids and a family and he knows it’s easier for him to not have a job? And then he’s saying his goodbyes and the midseason act out is Bobby announcing that Eddie is going to be leaving them instead.

Instead of really exploring any of that, it’s all been rushed through to move on to the next thing, but the honest truth is: I don’t trust what TM’s great next thing is because he absolutely squandered all the potential he had going into season 8. So all these “amazing things” he has going forward I just don’t trust they’re going to happen or even be slightly interesting. Instead, I assume they’re going to be something that’s like an episode opening and then never mentioned again if they do happen.

I just don’t understand what is going on in his head other than ego right now and I’m just… I deal with too many egos in my life to deal with another one like this.

[lipstickchainsaw]

Act 3 mostly left behind the elements of the show that I was most interested in, and had the most to say about, but I do want to talk about episode 7, which was fucking gorgeous and extremely well done.

I've seen people say that the good timeline Ekko and Heimerdinger find themselves in is the result of Vi dying, as if this timeline is a Wonderful Life view to paint Vi as the 'real' jinx, but I don't think this makes sense (for one, I don't think this episode gives us a new perspective on Vi, and Vi isn't the one seeing this, so it isn't giving her a new perspective on herself, either).

No, the point of Ekko's half of this episode is to give him a new perspective on Jinx, by showing him who Powder could have been. Last season, he was the most prominent person to argue that Powder was dead, and that only Jinx remained within the girl he was once friends with. This is not an unreasonable position for him to hold, given that she's killed a bunch of his friends in the Firelights over the course of his resistance to Silco's regime.

But this girl he meets here is not Jinx, and when he sees her, he initially reacts with the same hostility he would to the one from his timeline. Even when he figures out that he's in a different timeline, he isn't able to get over that, to stop projecting the image of Jinx onto this young woman who's done nothing wrong and suddenly sees her boyfriend acting so cold and distant to her.

This culminates in him asking the (really insensitive regardless) question of whether she was the reason Vi died. He has so internalised the view of Powder as Jinx/as a jinx that anything having gone wrong must have been her.

But she shoots back that, really, that's on him way more than it is on her. It's downplayed in season 1, but Ekko is the one behind the inciting incident of the show. To wit, he rips Jayce off, charging him double for the stuff he's buying, and then sends his friends to rob the guy's place, little rascal that he is. It was a fun little prank for a kid to play on some rich idiot who could just bounce back from that anyway, right?

And then everything went horribly wrong! Ekko lost his mentor, his closest friends, one of whom came back different, as his home was turned into a twisted parody of itself, and he had to find himself a sanctuary from which to launch a resistance movement.

We're naturally drawn to compare this Powder and our Jinx, but I think the subtler difference here is between the two Ekkos. It doesn't get a ton of emphasis, but we see from the way the people around him respond to him that this Ekko was very different, too. He hasn't had to grow up way too fast, and take up way too many responsibilities for someone his age. He hasn't become as angry as the Ekko we know, hasn't had cause to rage against the many injustices of a system stacked against him on both sides.

This Ekko is a relaxed, content, brilliant and recognised for it, genius little inventor, with a beautiful girlfriend who loves and supports him in his endeavours, and a wider family looking out for him to prepare him to step into a wider world of great possibility.

The way he conceptualises himself, as a resistance leader, a fighter and a protector, a boy saviour, he isn't ontologically any of these things. He isn't condemned by fate to step into those roles, doesn't become them out of some innate characteristics he just has. He is that way because circumstances forced him to become that.

And the same is true for Powder, for Jinx. She isn't inherently a jinx, regardless of what anyone including she herself may believe. She isn't the manifestation of misfortune for all, and he knows this. When he took her down in S1e7, and Jinx showed the suicidal Powder inside of her, he recognised this, and it's what stopped him from killing her then (even if she tried to blow him up.)

Even in that episode, she confronts him about this, calling him 'the boy saviour' in a tone that's halfway to an accusation. 'Why didn't you save me?' is what she halfway chokes out, where was her saviour (much in the same tone she'd use for herself when announcing herself as 'your big fat hero', because she wasn't able to believe in that concept either)?

Neither of them was able to address the matter then, because Ekko was still reasonably upset about the people she killed, and Jinx was dealing with a lot of complicated feelings she was expressing with violence, but it's his time here, with this Powder that gets him to reconsider.

'I've never seen you give up on anything,' and all that.

It helps that he meets a different Jinx who is, with some effort, willing to let herself be saved without trying to kill the person saving her.

(And not to be too down on our Jinx, Vi's death clearly hit this Powder hard, and she never quite built up the confidence to pursue her own ideas as a result.)

[bestworstcase]

So, it should be obvious to anyone paying attention or taking this seriously by now that Whiterose isn't happening. And I mean, they wouldn't really fit with what the show is going for anyways, with romantic relationships, no Ozlem fractals and all that. But it does stick out like a sore thumb, that within RWBY and JNPR they're the only pair of partners where it's not a thing. And I'm curious if you make anything of it, from an out-of-universe perspective, on why that's the case?

well for one thing, i think the conceptual basis for any ship being "well the other three major character academic pairs developed into romantic interests" is a de facto admission of non-canonicity in itself, and betrays a fundamental disinterest in character and narrative. this is perhaps not surprising, as i'm given to understand people have been shipping wr literally since the color trailers, which is to say that the core appeal has always been aesthetics.

full disclosure, my personal feeling is that wr is "man and woman breathed near each other one time!?" for sapphics. it's gay ruby/jaune. the ship isn't sunk, it's dry-docked.

in that sense, the out-of-universe perspective i have to offer is: the difference between ruby/weiss and arkos / renora / the bees is that the latter three were written with romantic intent from the start whereas ruby and weiss were not. i'll grant the possibility that the academic pairings were an inelegant plot device motivated by that romantic intention, but i don't in fact believe that is the case because the one/two/four motif is such a thematic workhorse for the contortions and distortions of ozpin's psyche; i think pairing the romantic partners was at most a secondary consideration. in any case, there is no rule dictating that every academic pair must eventually kiss. that's nonsense.

now. in the more specific sense of "why do these two characters in particular not go together" i think there are two reasons.

first, it's narratively important for ruby to be isolated. she's two years younger and left all her friends behind to enroll in beacon early and her big sister isn't and can't be her mom anymore and she gets paired up with an academic overachiever who initially treats her like an idiot baby who doesn't deserve the responsibility she's been given. ruby surmounts each of these challenges by remaking herself into their serious, competent, trustworthy leader and crucially this does not address, but in fact reinforces, her alienation from the rest of the team.

second, both ruby and weiss are profoundly sheltered and lonely girls raised in environments, denied close relationships with anyone but their elder sisters whom they both grew to idolize, and became, in contrasting but fundamentally similar ways, really good at performing the "right" behaviors—ruby adopting a happy, carefree mask, weiss becoming an overachieving perfectionist obsessed with her family's honor.

the point is, a) neither have ever had a real, emotionally close friendship before, and b) both have a deeply-ingrained tendency to Perform To Expectation. in this i think it is instructive to compare the conflict and resolution between weiss and ruby vs weiss and blake:

blake directly and overtly challenges weiss on her awful behavior until the brick wall of regurgitated bigotry breaks down and weiss starts to talk about the real emotional pain behind that wall, and blake reveals her own secret and then flees in distress, with the result that weiss has to face and think about the pain she's caused to someone she cares about and actually reflect on things blake said to her for a while. and then when they come face-to-face again weiss stops blake from anxiously trying to apologize / explain / appease her and says no, i thought about it, i trust you, you don't owe me any of that. she doesn't say the words "i'm sorry" but her actions demonstrate real understanding and empathy for blake.

meanwhile her conflict with ruby tears down ruby's self-confidence, ultimately leaving ruby receptive to ozpin's extremely destructive advice, and ends because port dresses weiss down and lays out for her in plain terms that her envy and resentment reflect poorly on her, whereafter weiss commits to becoming "the best teammate [ruby will] ever have."

spot the difference. the conflict between weiss and blake fosters a deeper, lasting emotional connection between them chiefly because they're fighting with each other—there's this back-and-forth, give-and-take that drives a resolution from within. weiss has to reflect on herself and decide that what she believed about faunuskind is wrong. and the. she has to decide for herself how to make it right. but that's not what happens in the conflict between weiss and ruby! weiss is just being a bully and gets told by a teacher she respects to knock it off!

and then little miss overachieving perfectionist pivots to "i will be the perfect teammate!" while the lesson ruby takes from this experience, courtesy of ozpin, is that she deserved to be treated that way because she didn't take her duties as the team leader seriously enough. she puts on a happy face and pretends nothing hurts because that's who ruby is, but the resolution here is very much just papering over the cracks.

not to say that ruby and weiss aren't truly friends and don't care deeply for each other, because they are and they do, but the foundation of this friendship is very brittle. on the surface, they appear as virtually the platonic ideal of what huntsman academy partners are meant to be—an unlikely pair who overcame enormous personal differences to become inseparable comrades-in-arms—but that is in large part because ruby's skill in masking problems harmonizes so well with weiss's drive to be the perfect huntsman academy partner.

but they're really not that close! it's a meme at this point for wr shippers to bemoan the dearth of "moments" between ruby and weiss, but that is by design. these are two girls who've never had a really close friendship before performing close friendship with each other almost flawlessly until the wheels very suddenly and violently fall off in v9, whereupon weiss—who is otherwise an empathetic and emotionally insightful person—realizes this hollowness and reflects on her treatment of ruby just as she did with blake back in v1. her perfect partnership has been an emotional burden to ruby this whole time, and she has to face that head-on before it can be fixed.

i think they're probably headed for a serious "we're combat partners who fight well together and get along, but are we actually friends?" kind of reckoning that will undoubtedly resolve in the direction of building real closeness, because maybe they're not as close as they believed but they want to have that kind of friendship.

which is like. you know. interesting. the core problem i have with wr fanon and the general insistence in that contingent of the fandom is that the apparent ideal-partnership is Real and trust me, they're totally in love, we're just meant to understand that they're having heart-to-heart conversations and emotionally vulnerable moments with each other off-screen all the time, the complete absence of this in the text is only because the narrative doesn't have the time—as if the narrative hasn't carved out time for arkos and renora and the bees and ruby/oscar, as if it wasn't a deliberate choice to contrast weiss getting scolded for bullying ruby against weiss empathizing and sharing childhood traumas and deep fears and cherished aspirations with blake and yang. like. come on.

the point is that things were "resolved" between ruby and weiss by external pressures that did not foster any real understanding between them, and then nothing ever changed. weiss' friendships with blake and yang pushed her to grow, to mature, but until v9 she and ruby were coasting on that "good leader/perfect teammate" dynamic, stagnant for ruby and a blindspot for weiss.

and this is the narrative reason why ruby and weiss had to be paired during the initiation. looking at it through the lens of "pairing the romantic partners (and the sore thumb of ruby and weiss)" misses the forest for the shipper goggles tree: the academic pairings are the inciting incident for each main character arc. for jaune, it's the first stroke of the ozlem fractal and the tragedy that motivates the rest of his story. for ren and nora, it's the safety of a comfort zone they'll eventually need to leave. for blake and yang, it's finding each other for the first time. for weiss, it's the mistake that will fester until it comes back to bite her to put all her growth in the interim to the test. for ruby, it's the painful experience that pushes her to take on self-sacrificial heroism as her duty.

it's just a device for establishing character pairs that will facilitate long-term development. that three of the four can be grouped together loosely as romantic arcs doesn't inherently mean anything for the one that isn't; to suggest otherwise is to collapse the differences between arkos / renora / the bees (and also ignore the goliath in the room of arkos not being endgame) and imagine a rule where there just isn't one.

for the sake of completeness i will add that coco/velvet is canon and the CFVY novels make a point of them not being academic partners.

[cowardlypenis]

so i completely changed my mind on curly mouthwashing! while obligatory disclaimer he's not as bad as jimmy he absolutely fucked up Big Time

mouthwashing the game is so interesting to me for how narratively dense it is and how many lenses through which it can be analysed... and i think curly's a really interesting example of a pretty nice dude who (seemingly uncharacteristically) is incapable of calling his friend out on shitty or abusive behaviour. i've not seen many characters like him before!!

before i was of the opinion that due to both the abusive company and ship conditions that facilitate highly abusive crew behaviour that realistically curly couldn't have done much to jimmy without risking him crashing the ship regardless - then i thought about it some more and realised that's a pretty backwards way to look at it! like, jimmy had the potential to crash the ship so curly can't criticise him at all in case he does? he crashes it anyway!

what really changed my mind was looking at the scene where daisuke gets stuck in the foam and the entire segment just prior to jimmy crashing the ship. in the utility room, curly is totally capable of telling swansea off for allowing the foam accident to nearly damage a cryo pod and is respected when he does so. so it's not as if curly as a person is such a people pleaser that he can't put his foot down around people he considers friends! and the "dead pixel" analogy doesn't apply here - curly doesn't just see the bigger picture that the pod Wasn't damaged, and makes sure to take responsibility and give swansea a warning.

then later 0 days prior to the crash, we see totally different behaviour from curly. something else that really changed my perspective was the line from anya saying "i told you." when curly asks who the father is, then curly immediately understanding. it demonstrates that despite curly being told about the assault, he seemed to have filed it away and dismissed it as something out of character for jimmy, similar to how friends of rapists excuse or dismiss their behaviour. curly also continues to insist that he'll just talk to jimmy and that he's known him a long time, which was likely the type of reaction that lead anya to lose faith in him and be proactive in hiding the gun in the first place. indeed, curly is exceptionally weak-willed when talking to jimmy, and effectively lets him lead the conversation to his own conclusions. initially i thought this discrepancy between curly's treatment of swansea and jimmy was odd, but i think it acts to emphasise that men considering others their friends Before their colleagues or employees will excuse or cover for very poor behaviour out of a sense of loyalty. this is probably also exacerbated by jimmy's status as co-pilot, essentially elevating him and curly to a status above the other crewmates and more equal to each other.

while curly does seem to be in somewhat of a panic in his conversation with jimmy, this really doesn't justify his outright agreement that a tragic accident leaving their reputations intact would be preferable to facing the music upon their return. another possible explanation for this behaviour is that with the foam situation, if a cryo pod Was damaged it would unambiguously be swansea's fault and a morally simple issue to handle as captain. however, anya's assault (and the pregnancy as undeniable proof) reflects badly on curly personally for both judging jimmy's character as safe to bring on board and failing to safeguard his crew and allowing an incident like this to happen. it provides an interesting look into how an otherwise well-regarded and kind person's behaviour will completely change as long as there are personal stakes for them. i see some posts talking about how curly and jimmy are opposites, and while i agree they are absolutely foils of each other, i do believe they share this character trait of ultimately being concerned for themselves first when the chips are down.

curly absolutely acted as jimmy's enabler throughout his time on the ship, not by actively enabling his abusive behaviour but rather through passively allowing it while fully aware he was the only crew member in a position to discipline him. curly's pride in his judgement of jimmy and sense of self-concern at the most critical moment overriding his responsibility to look after the crew were his two big mistakes that allowed jimmy to crash the ship. by no means was curly an irredeemable villain, but as captain, the person who brought jimmy onboard And jimmy's friend, he absolutely shares the responsibility for everyone's deaths and uncomfortably parallels "friends of rapists" in real life who excuse their friends' assaults but come across as nice guys otherwise. this ties into one of the game's larger themes of abuse and the ways in which it can be perpetuated and fester in non-ideal circumstances, which goes beyond the scope of this post.

[damnfandomproblems]

"OP, the vast majority of the time when a writer writes an 'average' character as being beautiful or handsome, it's usually from the point of view of the love interest. What? You expect someone who is in love with the person to describe them as average, whose looks aren't anything to write home about? When someone is truly in love with someone, everything they do can appear magical and beautiful. That's the point of romance fics."

TBF, there's a difference between a character thinking about how another's character's dark brown almost black eyes are so super pretty and how their freckles remind them of constellations and their small barely noticeable curves of that other character's make them sweat and how they want to kiss the bump on their nose and how they adore every strechmark, with the admirers actually admiring the other admiree's canon body, versus the admiree's eyes being changed to a lighter shade, freckles lessed of not gone, curves changed to be super exaggerated, nose bump smoothed out, and strechmarks erased, and them admiring this noncanon, altered to fit the beauty standard body of the other character. I'm pretty sure this is what OP is complaining about, not just one character admiring another, or at least that's how I'd read their submission, I could be wrong ¯\_(ツ)_/¯

Posting as a response to a previous ask.

[tumblingxelian]

I intended to respond to this ages ago, I'm so sorry it got lost in tabs!

White Fang: I don't really agree with that stance on the White Fang/Faunus subpot. I think that while there was some major clumsy aspects to it, the overall theming, world building and ideas behind it work well.

RWBY actually acknowledges that addressing systemic bigotry is a long, frustrating and difficult task, not something that gets magically fixed with some speeches.

RWBY has different areas manifest different degree and methods f bigotry, from the tolerated/accepted harassment and presumptions of guilt in Vale. To the systemic oppression of a collective underclass in Atlas, with Faunus pushed even lower than impoverished humans to undercut class solidarity. Or the basically open-season, legalized but not well organized bigotry across Mistral with no Faunus signs and outright lynch mobs in the back woods.

RWBY doesn't presume that all rebels are good or bad, but does acknowledge violent movements can be very easy systems for bad faith actors to claim influence in, Which is historically supported, as the White Fang's fall can easily be compared to the corruption and fall of the IRA.

This isn't to say there weren't fuckups, the biggest of which was throwing away Sienna. But but overall I think the collective arc holds together a lot better than people accept.

Volume 1: My idea was more along the lines of Blake seeking out Velvet to see if she was all right, and Yang seeking out Blake & velvet for the same reason, but basically keeping herself out of their space once its clear she'd be intruding and giving them space. With a sort of quiet moment between her & Yang indicating "Yang knows" but she'll be letting Blake decide the pace of reveals.

Sun: The thing with Sun is that his main narrative roles were to serve as a sponge for exposition and on a more subtle level be someone inspired by Blake to care about Faunus politics. Or so I think.

When we meet Sun he's a petty party boy mostly interested in just dicking around and he has near ZERO grasp of Faunus history or politics. But in his association with Blake he learns, such as his initial response to Kuo Kuana, but also being told the reality of it.

Again, I think these aspects were made clumsy, by a mixture of factors, be they his role as comic relief, general himbo attitude and the un-needed pseudo romantic sub-plot. But conceptually there's merit to his presence both for the audience and themes of the story, he just wasn't executed that well I feel.

"Princess" Blake... Isn't a princess though? Ghira was chosen as Chief as far as I'm aware. The home she references outright has large chambers that are just filled with desks, this is more like a town hall that doubles as a house. What's more, Blake didn't exactly spend much if any significant time there anyway given she was busy being a child soldier.

There's a better post covering this topic, which talks about the cleverly subversive nature of Blake's origin, the foreshadowing and the fact it neatly avoids a ton of problematic tropes which I really like:

Hope this response was worth the wait!

fellow bees shippers i have a question. what is your own criticism to the ship? like, things you didn't like or you would have done different or added or removed ecc. including the interplay with blcksn and/or adam, not just blake and yang's relationship alone.

[itsalwaysforyou]

so i started sertraline (i think americans call it zoloft??) very recently & i’m having quite a social week so i’ve been researching if i can drink whilst taking it.

and the nhs website says that you CAN, but it’s wise to wait a while after you start the meds so you can differentiate side effects.

whereas all the american websites are like IF YOU DRINK ON SERTRALINE YOU WILL DIE. YOUR HEART WILL EXPLODE. YOUR BLOOD WILL BOIL.

so i drank a cider tonight,

[sacchiri]

Hellsing 2002 calendar illustration.

Ein wunderliche und erschröckliche Hystori von einem großen Wüttrich genant Dracole wayda Der do so ganz unkristenliche marrter hat angelegt die mensche, als mit spissen als auch die leut zu Tod geslyffen

A wondrous and frightening story about a great berserk called Dracula the voivode who inflicted such unchristian tortures such as with stakes and also dragged people to death

[suffarustuffaru]

Reading your tags about how people miss the very obvious "there's some fucked up shit boiling underneath" regarding Otto, just gave me a sudden realization. Otto is the only character I know in fiction where they act all innocent and drive up the "clumsy", "just in the side-lines" and "straight-man (heh)" persona. When. Like no one's in the EMT camp is buying it. They know he's way more capable than he let's on. Meanwhile, the tomfoolery is completely brought on by the Western audience.

Like Otto is failing miserably to make other characters believe that he's not up to mischief, Roswaal even thinks it can bring his downfall. But the audience, who even sometimes *sees* his fucked up thought process, is buying it.

*head in hands*

no u bring up so many good points bc ive been really thinking about this for a while T^T its such an interesting phenomenon in the difference in perception otto has between the japanese speaking half of the fandom vs the english speaking half which can be explained by—yeah. media illiteracy mainly. im also putting my head in my hands anon T^T

because—okay sorry wkdndn im gonna get into meta again but hear me out bc this pattern of the fandom underestimating otto is interesting bc i kind of sort of i cracked the code maybe??? o.o i think the nature of otto is a character is that youre SUPPOSED to underestimate him at first, just like what happens sometimes in universe. i mean wayyy back then i definitely wasnt expecting him to get more depth added to him in arc 4–which was a pleasant surprise—which is also the reaction the vast majority of people have to reading/watching arc 4, along with the other vast majority reaction which is being a bit endeared to ottosubas friendship and respecting otto for being a good friend. and then its easy to underestimate otto bc of 1. all the chaos going on in rezero at any given moment and 2. hes almost always overshadowed by other characters doing worse shit or being more insane than he is and 3. otto of course damn well knows hes easy to underestimate and counts on that. thats what he did against roswaal in arc 4. plus—i mean even aesthetics-wise hes 100% DESIGNED to be easy to underestimate. his outfit and physical features make him look either friendly or frazzled or soft. so i think that the point is that we were supposed to be kind of fooled—at first.

because yeah, we’re endeared to otto. we respect him for helping subaru the way he did. we think that hes a nice person and we now support his actions especially after feeling sympathetic towards him after learning his backstory. (or at least the average audience member will think this wjdndn.) but like—you dont even NEED to look at any side content at all for it to dawn on you that theres something Wrong. with him. like all you need is main route arcs 3-8 aka ottos entire screentime thus far, because at arc 4 its so easy to overlook otto unless youre thinking a bit deeper (for example—he gets violent with subaru. like yeah its entertaining, its played for laughs a bit, yeah subaru needed to be snapped out of his own head, but was it 100% necessary??? why did otto have this response??? bc if you just look at the main timeline otto really decided to beat up subaru first. and bc this tendency is now Less Funny in arc 8).

but even if youre just looking at rezero face value, when you get to arc 5 its starting to get even more clear that ottos weird in the head. like we already saw him being very good at scheming and planning in arc 4–in arc 5, we find out about otto hiding the tome for a year. we find out WHY hes been hiding the tome for a year. the tome then leads the witch cult into priestella, so like—in the sense, otto is RESPONSIBLE for arc 5. but theres STILL a tendency sometimes for the audience to continue underestimating him even though by this point we’re getting more clues and many characters around otto, like you said anon, KNOW hes very capable. i keep wondering why this is, but arc 5 is, again, FULL of chaos and different storylines happening at once, so its so easy to almost kind of forget otto there in the background until he occasionally pops up again. plus otto serves an additional role as comedic relief sometimes—he spends all of arc 5 being bitchy and whiny (i say this affectionately HAH) about his camp being full of disasters, for example, so i think the natural response from the audience tends to be “aw otto!! what a silly guy!!” sometimes. you know? so its like. i think at this point some people tend to be like “yeah fair that otto was wary of roswaal and thats why he saved the tome…. anyway ooooh whats going on with these other plot points” wobsbss. its so fascinating bc—ok this might be my own personal experience but anyone reading this pls tell me if you agree or not—i dont think ive seen a lot of people actually even MENTION otto bringing the tome into priestella attracting witch cultists. and the english speaking fandom LOVES to go into certain characters’ wrongdoings so why gloss over otto????

the only explanation i have for this is that from arcs 3-4 underestimating otto is. kind of the point of his character UNTIL you get to arc 5 and the clues in the main story start seeping in even more. and also the western audience DOES have media illiteracy a lot. theres that too. just look at rezero content on youtube or reddit or fanfic sites or other things of that sort T^T but no yeah i think ottos nature as a character exacerbates it. youre supposed to start asking questions about him. youre supposed to start connecting the dots and then SUDDENLY its now EXTREMELY obvious in arc 7-8 and even while theres so much chaos going on its basically shoved in your face. arc 7-8 is just delivering on all the leadup that was arcs 3-5.

and i think that youve gotta be media illiterate for sure to NOT get that otto is not squeaky clean and innocent BY ARC 8. i think that ottos the deconstruction of the loyal best friend trope, and also a mirror into what subaru couldve been like if he decided to be more ruthless instead of jumping right to forgiveness and saving everyone, except sometimes that flies right over the audience’s head wkdndnd. it confuses me bc ive seen some people completely miss the point or completely agree with otto and overlook the Bad Parts of it or, you know, STILL think ottos perfectly sane—like T^T please.

and yeah so back to what you said about otto Not being underestimated In Universe—its such an interesting detail bc hes ALWAYS been simultaneously pathetic and Very Competent wjdndnd. but yeah no all of his friends have seen various hints and clues and evidence of what hes capable of. like even though he hid the tome from them successfully and even though hes hiding info now its INEVITABLE that its gonna blow up in his face one day. like you got characters like garfiel who literally saw otto punch the wall and break his hand in an unhinged fit of rage, julius who got snapped at by otto and while julius is a Bit naive definitely knows somethings off there, anastasia whos smart as hell and definitely knows not to underestimate otto, and roswaal who, like you said anon, literally went out of his way to stop otto from breaking his hand in another unhinged fit of rage and warned otto that he will literally be destroying himself if he keeps going on like this. its this fascinating dichotomy bc otto is NOT fooling anyone around him but at the same time his current schemes are mostly unnoticed—for now—which yeah i havent seen that in a lot of media!!! its an interesting balancing act bc people around him realistically know hes competent after seeing the Proof of that for the past couple arcs, but otto is still finding ways to try and Win…

which—again, the anger and violence is an extension of arc 4 otto!! this is the same guy!! hes always been like this!! ottos kind of stayed the same, deep down, this whole time and as an audience its ONLY shoved in our face with a big gigantic spotlight on it FOUR ARCS LATER, but it was hinted to all this time. and like you said anon—we LITERALLY see ottos fucked up thought processes. literally what sane person thinks any of that shit. its spelled right out for the reader HAH T^T which—yeah. media illiteracy…. and also this whole ask was a longer way of just saying that otto is VERY easy to see at surface level if youre media illiterate. but at the same time it should be very easy to figure out otto is A Bit Fucked Up bc tappei underlines it in bright red print!!! i think people sometimes just hang onto soft awkward silly otto and forget about the rest T^T either that or they dont think he cares about subaru at all. which. that phenomenon of thinking characters that do care about subaru Dont Care is also interesting to me bc why????? we’re at arc 8 and you STILL dont get it??? o.ooooo

but yeah apart from that….. i said this earlier but yeah sometimes some people agree with ottos realism in arc 8 which is. understandable, but the whole point is that he is EXTREME. with it. hes Not in the right here, but the same crowd that wants wanton revenge in rezero is gonna agree with that kind of stuff T^T ottos been lurking in the background so much so that tappei made it meta by doing the whole “walking in darkness” part of his character, so i guess people just. dont see ottos ACTUAL worst traits and instead think he would ditch subaru at the first opportunity or something. but at the point we are now, arc 8 ottos problem isnt that hed ditch subaru. his problem is that he would sacrifice the world for subaru. his problem is that he gets extremely angry at subaru for trying to do good. his problem is that hes trying to micromanage everything around him and is willing to sacrifice anything necessary to get what he wants. but sometimes people dont get that bc otto doesnt look sound or seem like a character thatd do that. the Underestimation part of his character is doing too well on. certain audiences. please T^T the soft and awkward and silly parts ARE part of his character just like all the Darker parts are!!!

additionally im also wondering if western audience perception of otto is also clouded by the fact that otto looks and sounds more feminine / androgynous and he doesnt have the appeal of Overt Power either……. he cant Really be waifu-ified… and he cant be used as a weird self insert like subaru…. and you Have to look at him closer to understand him…. and for some reason people dont tend to hate on him so aggressively, if anything people cant even see his actual canonical flaws half the time wkdndn so if youre not paying attention otto CANT be aggressively hated on bc theres nothing there if ur not looking at it….. and if youre not paying attention otto seems more “boring” compared to the others…… (not that people arent allowed to not have otto as a favorite character bc thats totally fair but im talking about the tendency to think hes Saner than he actually is.) but yeah these are just my guesses. i have no clue the western fandom is a little T^T some people unfortunately cannot read.

anyway. big thank you to the japanese fanbase for understanding ottos character more and making so much wonderful fancontent for him T^T also i think that we as a collective fanbase should stop underestimating otto in general bc its exactly what he wouldnt want and i think itd be really hilarious. <3333 make him explode with rage please

[c0rpsedemon]

it's 2023 and i'm still bitter about how kuroshitsuji, a complex slow burn mystery manga, got absolutely massacred by its shitty semi-episodic shota/fujobait anime adaptation

[littol-bun]

i love being an age regressor ૮ᴖﻌᴖა ♡⁠ tonight it feels very affirming and comforting. I've kind of always had to look out for myself and be my biggest supporter, and there are a lot of strange ways this feels like a second chilhood at times.

like i regress to being younger, but I'm also a girl now in a completely different place with completely different circumstances/social circles etc. yk?

but when i feel rly small and my reality feels so big, it makes me happy that older me is there for me to make the important decisions and guide us there :3 it's like i am holding my hand through this, i haven't had an adult rly look out for me like this and it's so nice to have one now!!

i don't have to be scared of big changes, I'm doing good and I'm here for me and i can take it easy. i have someone who is helping me ♡⁠ i have someone who is keeping me safe. they work hard so i can be little ^.^ thanks big sis hehe ✌🏾

ouggghh im not little anymore but (⁠｡⁠ﾉ⁠ω⁠＼⁠｡⁠) ♡⁠ yeah. when i am little i can still like.. function as an adult n talk to ppl n stuff. but it's also like, well like i said before ig 0:

like im smaller but different‚ subtly. still me‚ but someone else since I'm like.. a teen?? that i never was. my childhood was nothing like my adulthood so this rly is a whole new thing little me has needed to learn 2 navigate emotionally/mentally.

but as i become more aware of when I'm in a little headspace and not, the difference in perception stands out to me a lot more. i can't articulate it very well... oughh. this is giving me very specific questions, but on that note — i am happy to feel so safe and looked out for when I'm little 😌💕 i used to feel scared and helpless but it's different now. we're doing this together 👩🏽‍🤝‍👩🏾 i got ya lil sis

[moe-broey]

Ohhhhhhh. Okay.

(thoughts/revelations about bride alt Sharena jumpscare)