#it makes it more difficult to discuss them

[seresinhangmanjake]

His and Yours

Summary: When you're told your pregnancy could cost you your life, Feyd demands you do whatever necessary to keep yourself alive. When you decide to have the baby anyway, it creates a rift in your relationship. Only when you go into labor, does Feyd show himself for who he really is.

Warnings/ Notes: Very angsty, but ends on a happy note. Very sensitive topics about pregnancy, abortion, and conversations about potential death. It’s Feyd here people, and we can imagine how he’d be with sensitive topics. Please only read if you understand this. Requested by @tgmreader

**While it is not necessary to read my other work to read this fic, this works also as another part to my "His" series. However, (even though it ends on a happy note) if this content makes you uncomfortable, it is not necessary to read in order to understand any future parts in the series. I know people love them together and that this is a difficult issue, so do not feel obligated.**

Feyd-Rautha Masterlist / Main Masterlist / Tag list

Words: 2950

“Feyd…” you sigh as you watch him pace back and forth. He doesn’t so much as acknowledge you until you attempt to get up from your seat to go to him.

With an outstretched arm and a finger pointed directly at you, he says in a harsh tone—harsher than you’ve heard in a long time, “Don’t you move a fucking inch!”

You plop back into your seat. “We have to talk about this.”

“No!” he snaps. He descends upon you with rushed stomps, his hands gripping the armrests of your chair. You have to tilt your head back to meet his fiery gaze. “There will be no talking about this,” he grits out through clenched teeth. “No discussion. No negotiations. No weighing the pros and cons.” You swallow as a tear builds in the corner of your eye. Feyd groans and pushes away from the chair. “Stop crying.”

“What do you expect from me?”

“To not die!” he shouts, his voice echoing through the vast, empty room. “I expect my wife to do whatever she has to in order to keep me happy! That’s your job!”

You glance down. Your hand runs over the slightly bulbous shape of your stomach. A tear creates a dark patch on the fabric of your dress. A dress he picked out for you. He’d been so enthusiastic about every element related to your pregnancy, including dressing his wife in new gowns as you grew with the passing months. This is one of the first he’d chosen. 

“I thought my job was to provide you with an heir,” you say.

“Not at the cost of your life!”

He had almost missed the appointment for more professional matters. Now you wish he had. When the doctor told you that you might not survive giving birth, he gave you a choice: risk having the child anyway or drink a tonic that will terminate your pregnancy while it’s still safe. You knew Feyd’s mind was made up in that very moment. But yours wasn’t. This is your child, a perfect combination of you and the only man you’ve ever loved, and yet, your questioning of what is best has your husband looking at you like you’ve lost your damn mind; like you’re a fool with a knack for selfishness.

“I’m the na-Baron,” he says. “You’re under my authority. I decide for the both of us.”

You shake your head. “That’s not fair.”

“I don’t care if it’s fair! We can make a hundred heirs, but there isn’t another you!” he screams. You wonder if the rest of the Harkonnen fortress hears—the soldiers, the servants. You wonder if they fear for their lives because of an outburst that has nothing to do with them. They should. Your husband is likely to go on a rampage throughout the place the moment this conversation ends, should it ever.

When you shrivel in your chair, a crease dents the center of his brow. Feyd returns to you, his warm palms cupping your cheeks, his forehead resting against yours. “You can’t ask me to let you do this,” he says with a subtle whimper. “I won’t ever forgive you.”

“What about my forgiveness of you?”

Feyd jerks back. The pain in his eyes shrinks under darkness. “You have nothing to forgive me for.”

Finally, you stand. “You want me to give up our baby,” you argue. “You don’t think I deserve to–”

“No!” You jump. “I care about you! I love you! Not some thing that wants to take you away from me!”

“Feyd–”

“I refuse to continue this conversation,” he says. “I’ve made the decision. It’s done.”

—

He’d tried everything. He had meal preparers mix it in with your usual dinner drink until the nasty sludge color disappeared. He attempted to have your maidservants slip it into your morning tea, your evening glass of warm milk, and, even more desperately, into your bathwater. However, the only servants close enough to you that he could demand such a task from became primarily loyal to you after your marriage six months prior, and as a result, each one informed you of his plans. Five servants fell to your husband's blade before he surrendered that tactic to attempt anew. But with his final effort, what died between you was nothing other than what had been keeping you together—affection. 

With your feelings numb, there was little foundation for your relationship to stand upon. When he took you and made you his concubine, Feyd kept you safe. He did the physical work to protect you in a newly twisted relationship while you did all of the emotional work. You broke down the walls he’d built, got him to open up, showed him that caring for you wouldn’t be the end of the world. Convincing you to get rid of your baby was the hardest he’d ever emotionally worked for you, and since failure was not a thing he had known, nothing was going to stop him. 

He didn’t understand that kissing you with the tonic filling his mouth was too far, even for what he’d already done. He didn’t understand that he had already lost so much of your trust with his deceit and that that kiss was enough to scorch the rest of it. You might have left him had you not been able to wash the substance from your mouth before it could do its damage. 

When you first turned him away, he threw his fits. He screamed at you and for you every day until you made it clear you weren’t coming to him, but even then, he didn’t allow you to neglect the expectations he had for you. In front of others, you were to act as his wife—stand by his side, attend meetings in silence, kiss him goodbye before his trips to Arrakis—but the larger your belly grew, the less he was willing to have you near. 

You don’t sleep in the same bed now. You don’t take your meals together or bathe together or, frankly, see one another. He looks the other way when he crosses your path. His fists clench like he wants to touch you, his Adam’s apple bobs like he’s holding back from kissing you, but his eyes refuse to meet yours, and he won’t go near you. 

You know he's preparing himself to lose his wife. Anger, while present, hasn’t been the dominant fuel for his behavior for a while, and neither is it yours. You were furious, but with your baby due in a month, you struggle to bear the loneliness, and the longer he continues to treat you like you’re a plague, the more you miss him, and the more you fear for your child. Who will love it if you are not here? Who will protect it and teach it and nourish it? Certainly not the one who should and once promised he would. And as the days close in, you wonder if he was right. If you made a mistake. 

—

I need him—that’s all you can think as your baby fights to leave your body. You need your husband here, and the reasons are far too overwhelming, but you can’t focus on anything else. You miss him. You can’t do this alone. And if you die today, you have to say goodbye. You have to tell him you love him and make him swear to protect your child, or it was all for nothing. 

“I need him,” you screech through your teeth with the contraction that hits you.

“My Lady–” one of the nurses begins. Her voice is shaky, worried eyes flicking back and forth between yours and the doctor between your legs who has just reached for another clean rag after discarding a blood-soaked one. “My Lady, the na-Baron–”

“I don’t care! I need him!”

He must’ve been there, listening, because Feyd’s through the door in an instant, and as his eyes lock on to yours, everything else—all the pain and lies—is shoved behind you. He takes a step forward but pauses, momentarily distracted by the wear on your body, before he blinks and continues forward, shoving people aside to get to you. He falls to his knees by your bed and when your hand reaches out, he clutches it tightly in both of his. Too tightly. You can feel your pulse throbbing harder from the pressure on your veins, but you don’t care. 

“Feyd, I–”

“Don’t do this to me,” he mutters as tears well in his eyes. The first you’ve ever seen. He didn’t so much as shed a tear on your wedding day or when you told him you were pregnant, but as the first one falls down his cheek, you realize he’s about to make up for every missed opportunity. 

You can’t respond. You don’t have it in you to tell him that you won’t do anything to him, that you won’t hurt him, that you’ll be fine, and that you’ll be a family. You’re too exhausted to lie. He seems to know it because he doesn’t make the request again. Instead, he kisses your fingers over and over, repeating words of love that are not often said. 

“My Lady, I know it hurts, but if you can shift downwards a bit,” the doctor starts. “At this angle, we might be able to–”

Feyd wipes his eyes and shoots to his feet. “You can save her?”

“There might be a better chance.”

You groan as you maneuver your body. Feyd does what he can to assist, but it doesn’t ease the searing, stabbing feeling at your core. 

“That’s better,” the doctor praises. 

“She’s your priority,” Feyd says sternly.

You gasp. “N-No…”

Your husband’s head whips back to you. “I’m not watching you die,” he growls. 

“For…our baby,” you say to Feyd’s hardened features. You cry harder for the pain of realizing that out of you and your baby, he would still choose you. You don’t know why you expected any different. In the five minutes of his presence, he gave no indication of a change of heart, but it’s disappointing all the same. “P-Please.”

The doctor doesn’t look up from the task at hand but listens for further instruction. “My Lord?”

Feyd stares at you for a long while, his expression unchanged. He doesn’t squeeze your hand or kiss your forehead or brush away the damp hair from your forehead with your next contraction. He doesn’t flinch at your joining shriek. He’s gone, lost in the world of his thoughts until he decides to come back. His eyes close. He grinds his back teeth. His brow pinches and he shakes his head.

“The baby,” Feyd struggles to get out. He pauses before he says, “And then my wife.”

“Yes, my Lord.”

The next half-hour is white-hot, blinding agony. You can no longer move—a statue as the doctor slices pieces of you open to accommodate your child’s position. He doesn’t want to come out. He doesn’t want to leave his mother. You can’t blame him. If you had the same fate awaiting you upon joining the world, you might not rush to leave the confines of comfort either. He has no reason to separate himself from everything he’s known to fall into the hands of a man who does not love him. But his unwillingness to leave you is what will eventually take you from him. 

You can feel it. The draining. Of blood. Of life. Your energy is long gone and at this point, you can’t imagine lasting long enough to be saved, even if you survive just in time to hear your baby’s first cry. 

“We’re almost there,” the doctor says. His words are hazy as your brain drifts, struggling to keep you conscious. But then you feel a release of pressure, a missing weight. Emptiness. Solitude.

“Save my wife!” you hear in the aftermath, but you’re not worried about that. You need to know he’s ok and perfect and that he has all of his fingers and toes. You need to know if he has a dusting of hair on his head, or if he’s like your husband. Does he more resemble his father? Complexion and eyes and lips poutier than yours? You need to know these things about your son. 

But you suppose you never will. Your vision is too blurry to make out his tiny form, but among Feyd’s shouts, you hear a beautiful little wail as your eyelids flutter closed. And that’s enough. 

—

The last thing you heard upon your death is the first thing you hear when you wake. And it terrifies you. Surely, you should not be hearing that sound. If you can hear him, then he’s with you, and he can’t be with you because you’re not here. Not really. You don’t exist on the plane he should be existing on. You exist in darkness now, and he was only ever meant to see the light. That’s what you saved him for. That’s what you used every remaining ounce of your will and soul and heart to do. You left so he could stay. So how could he be with you?

“Can you hear him?” 

Yes. You cannot see him, but you can hear him. He sounds so much like you remember. His coos are not the wails, but the noises are brothers. You part your lips to call his name only to realize you never got the chance to give him one. 

“He’s perfect,” the voice says. “Everything about him.” A tear trickles down your cheek. “I need you to meet him. He wants to see his mother.”

You want to see him, too, so badly, and as you feel the desire, a flash of light shoots across your vision. One flash, and then another. Another flash, and then one more. Brightness obscures every image as your eyes shift, attempting to take in your surroundings. You’re not sure this is better. In the darkness, you can rest. This is simply torturous, and your baby is not even here. 

Heat from a heavy, shaky sigh hits your skin. Relief. Lips land on yours for a long beat before finding your forehead. A skull presses to your skull. The breath is taken from your lungs by another kiss. A droplet splashes onto your cheek. 

“You don’t ever do this to us again.” When your vision adjusts, your husband is there. “Do you understand me?”

You nod before you can think not to, before you can think that Feyd is not meant to be here, either. But if he is here, then why does he look so happy? Would he really rather the three of you be gone forever than to raise your baby without you? You scold your idiocy. Of course, he would. 

“You were out for three days,” he says. “Longest three days of my life.”

Out. Not dead. Not gone. 

Feyd helps you sit up. He disappears and then returns with a bundle of fabric. “Look,” he says, smiling, sniffling, and then smiling again. Two of his fingers gently nudge a section of the blanket aside to reveal a tiny face. Tiny nose, tiny lips, tiny eyes. Lashes that rest on tiny cheeks. A much smaller spitting image of your husband. “He’s got your eyes, I promise,” Feyd says, and your son proves it when his eyelids flutter open. 

“Do you think you’ve got the strength to hold him?”

You nod again. “Y-Yes,” you say, like it’s your first word. 

Feyd uncurls his arms from the baby and settles him into your awaiting ones. He’s lighter than you expected—probably to do with coming a little early—but the weight of him snaps the bits of you that were lagging behind in the unconscious world to the present. You gasp.

You’re alive. Your baby is alive. Your husband is here. They’re both beautiful. “I’m alive.”

Feyd sits back down in the chair that is pulled up to the side of your bed. He swallows. “Yes. Barely, for a moment, but…yes.”

You cuddle your baby to your chest and run your finger down his nose. He’s softer than the blanket that snuggles him. Soft like you rather than his father. He’ll grow strong like the man you can’t help loving, but he’ll have more heart, and that balance will make him a great Baron one day. A great man. 

“Do you hate me?” Feyd asks. “For what I did?”

Your head hurts and you still feel groggy, but you’re aware enough to know that you don’t hate him. You can’t hate him. It shocks you that he doesn’t know that, but then again, he’d never done anything like what he did before, and if you’re honest with yourself, you don’t know that he wouldn’t do it again should you fall pregnant with another child. You don’t trust him right now, and there’s only one thing that could ever convince you to attempt repairing that trust. 

“Do you love him?” you say as you gently rock your baby. 

Feyd glances down at your son. There’s no contemplation. “More than anything.”

“You’ll protect him?”

His eyes flick back up to yours. “With my life,” he says. And you believe him. 

You became a mother the second you felt that little life growing inside of you, but you can accept that upon looking at your son, spending time with him, your husband learned to become a father. Had you died, you don’t know what would have happened, but you can’t dwell on that and hope to keep your family together at the same time. He loves the child you made together, and that’s all you ever wanted. 

“Then, no,” you tell him. “I don’t hate you.”

[callsigns-haze]

His Shadow: Chp 6

masterlist part 1 part 2 part 3 part 4 part 5

Azriel, secretly juggling his responsibilities and personal life, maintains a hidden relationship with YN, who works at a pleasure house in the Hewn City. She was his light, his love, his passion. Yet being his darkest secret is a hard role because life in the Hewn as a young female isn't the easiest as the two of you hold an even dark secret yet to be told...

Pairing: Azriel x reader

This series contains mature themes: Explicit depictions of violence, including physical and emotional. Themes of secrecy. Descriptions of difficult relationships, including strained familial and romantic dynamics. Mature sexual content. Themes of power, control, and manipulation within complex interpersonal relationships. Discussions of parenthood and the challenges associated with it, including postpartum experiences.

The morning sun filtered through the thin curtains of their apartment, casting a warm, golden hue across the room. The soft light highlighted the simple, yet cozy space they had made their own—a sanctuary that was their little world, hidden from the eyes of everyone else. Knox was still asleep in his crib, his tiny chest rising and falling in a steady rhythm, blissfully unaware of the tension building between his parents.

YN stood near the window, her back turned to Azriel, arms crossed over her chest. Her posture was stiff, her shoulders tense as she stared out at the city, her reflection barely visible in the glass. Azriel could feel the frustration radiating off her in waves, and he knew that this conversation was inevitable. He just hadn’t expected it to happen so soon.

He had taken the week off, needing to be with his family, needing to be with her. After overhearing Cassian and Mor talk about their little spying expedition on YN, he had made the decision quickly, without hesitation. But now, as he watched YN’s back, he wondered if he had acted too impulsively.

“Why did you do it, Azriel?” YN’s voice broke the silence, cutting through the stillness of the morning. It was calm, but there was an edge to it—one that Azriel recognized all too well. She was holding back, trying to keep her emotions in check, but he knew she was upset. “Why did you take the week off?”

Azriel let out a slow breath, his wings rustling slightly as he stepped closer to her. “I wanted to be here with you and Knox,” he answered, keeping his voice steady. “After everything that’s happened, I thought you could use the support. I wanted to make sure you both were safe.”

She turned around to face him, her eyes flashing with a mix of anger and something else—something that looked a lot like hurt. “Safe?” she repeated, her tone incredulous. “Azriel, we’re not in immediate danger. You’re acting like I can’t take care of myself and our son without you hovering over us.”

“That’s not what I’m doing,” Azriel replied quickly, though he knew that wasn’t entirely true. He was protective—maybe too protective, especially now that their lives were more complicated than ever. He crossed the distance between them, his hands reaching out to take hers, but she stepped back, putting more space between them.

“Isn’t it?” she shot back, her voice rising slightly. “You’re here because you don’t trust me to handle things on my own. You’re here because you think you need to shield us from everything—even from your own family. But Azriel, I can’t live like this. We can’t live like this, constantly looking over our shoulders, constantly hiding.”

Her words hit him hard, and he knew she was right. But it didn’t change the fact that he felt this deep, unrelenting need to protect her, to protect Knox, to be there every moment in case something went wrong. The thought of losing them—of anything happening to them—was more than he could bear.

“YN, I’m not trying to smother you,” he said, his voice softer now, tinged with the desperation he felt. “I just… I need to be sure. After what happened yesterday, after knowing they were watching you—I can’t just leave you both alone and hope everything will be fine.”

Her eyes softened slightly at his words, the anger ebbing away, replaced by a sadness that made Azriel’s heart ache. She took a deep breath, closing her eyes for a moment as if trying to gather her thoughts before she spoke again.

“Azriel,” she said more gently, “I understand why you feel the way you do. I do. But this… this isn’t sustainable. We can’t keep living in fear, can’t keep reacting to what might happen. We need to trust each other, trust that we can handle things—even when you’re not here.”

Azriel’s shoulders sagged slightly, the weight of her words pressing down on him. He knew she was right, but it was so hard to let go of that instinct, the one that told him he needed to be there every moment to protect them. He had been living on the edge for so long, constantly aware of the dangers lurking in the shadows, that he didn’t know how to step back and just… breathe.

“I do trust you,” he said finally, his voice rough with emotion. “I trust you more than anyone, YN. But I’ve spent centuries living in a world where letting your guard down, even for a moment, can cost you everything. I’m sorry if I’m overbearing—I just can’t lose you. I can’t lose our son.”

YN’s expression softened further, the tension in her posture easing slightly as she stepped closer to him. She reached out, her hand resting against his chest, right over his heart. “You won’t lose us,” she said firmly, looking up at him with a gaze full of determination. “But you have to let us live, Azriel. We can’t keep hiding in the shadows like this. I need you to believe that we can handle this—together.”

Azriel closed his eyes, leaning into her touch as he absorbed her words. She was right, of course. YN had always been strong, far stronger than he sometimes gave her credit for. And Knox—he was still so small, but Azriel knew his son would grow up to be just as strong. They didn’t need him to shield them from the world; they needed him to stand beside them, to be their partner, not their protector.

“I’m sorry,” he whispered, opening his eyes to meet hers. “I’ll try to do better. I promise.”

She smiled at him then, a small but genuine smile that made the tightness in his chest ease just a little. “That’s all I ask,” she said softly, her hand moving up to cup his cheek. “We’re in this together, Azriel. Always.”

He leaned down, pressing a kiss to her forehead, the simple act grounding him, reminding him of what truly mattered. “Always,” he echoed, his voice filled with a quiet resolve.

They stood there for a moment, wrapped in each other’s presence, the tension between them slowly dissipating. Outside, the sun continued to rise, bathing the room in warmth and light, as if to remind them that there was still hope, still a future to be had, as long as they faced it together.

In the crib beside them, Knox let out a small whimper, his tiny wings fluttering as he stirred from his sleep. YN pulled back from Azriel with a soft laugh, her eyes sparkling with affection as she turned to their son. “Looks like someone’s awake,” she murmured, moving over to the crib to pick Knox up.

Azriel watched her, his heart swelling with love as she cradled their son in her arms. Knox blinked up at her, his small mouth forming a perfect little ‘O’ as he looked between his parents. Azriel stepped closer, wrapping an arm around YN’s waist as he leaned down to press a gentle kiss to Knox’s head.

“We’ll be okay,” YN said quietly, more to herself than to him, as she rocked Knox gently in her arms. But Azriel heard the conviction in her voice, the belief that they would find a way through this—together. And for the first time in a long while, he allowed himself to believe it too.

---

River House was alive with activity as the Inner Circle gathered in the spacious sitting room. Sunlight streamed through the high windows, casting warm pools of light across the room’s plush furniture. Cassian was sprawled in one of the armchairs, his wings half-draped over the sides, while Rhys sat opposite him, leaning casually against the backrest of a couch. Mor and Feyre were nearby, quietly sipping their tea, and Amren was perched on the window sill, her sharp eyes watching everyone with mild disinterest.

As usual, the meeting started casually, with updates on Velaris, news from the courts, and the usual banter. But something was different this morning, an undercurrent of curiosity running through the group. Azriel’s absence was becoming more noticeable, especially given his sudden declaration of taking a week off—a rare occurrence.

"So, does anyone else find it weird that Azriel's taking a week off?" Cassian said, breaking the silence. He shifted in his seat, his brow furrowed with a mix of concern and confusion. “I can’t remember the last time that happened. Not without a reason.”

Rhys’s violet eyes flickered with amusement, but there was a hint of curiosity as well. "It’s not like him," he admitted, his voice smooth. "Azriel rarely takes time for himself. He’s always working, always looking for the next mission or lead. But a whole week off? That’s new."

Mor nodded in agreement, her lips quirking in a small smile. “Maybe he finally realized he needs a break,” she said with a light laugh. “Even shadowsingers need to recharge once in a while.”

Feyre glanced at Rhys, her brow arched in thought. "He didn't seem like anything was wrong the last time I saw him. Do you think something’s going on that he’s not telling us?"

Cassian sat up straighter, rubbing a hand across the back of his neck. “I wouldn’t be surprised. You know how secretive he can be. But a whole week off? Something doesn’t add up.”

"Maybe he met someone," Mor suggested, her eyes gleaming mischievously. “Maybe there’s a secret lover involved, and he’s just been keeping it from us.”

At that, Cassian snorted, his wings shifting behind him as he chuckled. "Azriel? Keeping a secret lover from us? That sounds about right, actually. He’s good at hiding things.”

Rhys tilted his head, a slight frown creasing his brow. “He’s been acting strange lately. Not just with the time off, but before that too. More secretive than usual. And those late-night disappearances…”

Feyre leaned forward, her curiosity piqued. “Do you think he’s hiding something serious?”

Rhys let out a thoughtful hum, his fingers drumming lightly on the armrest of the couch. “Could be. Azriel’s not one to share things unless it’s absolutely necessary. If something’s bothering him, he’ll bury it deep.”

Mor crossed her arms, glancing between Rhys and Cassian. “Do you think it has to do with the place we went to in the Hewn City? The woman—YN—she seemed close to him. Could it be related?”

Rhys’s eyes darkened for a moment, as if recalling the encounter at the pleasure house. “Possibly. He did seem more… comfortable there than usual. And she did say something about going back after maternity leave. Perhaps Azriel’s more involved in her life than we thought.”

Cassian shifted, his expression turning more serious. "You think he's involved with her?"

"It’s possible," Rhys said slowly. "But Azriel’s careful. If he’s keeping something from us, it’s for a reason."

Amren, who had been silently observing the conversation, finally spoke, her voice dry and laced with boredom. “Whatever it is, he’ll tell you when he’s ready. No point in speculating about his private life.”

Mor glanced at Amren, then back at the others. “Still, it wouldn’t hurt to keep an eye on things. If he’s tangled up in something, we should know. Especially if it affects us or the missions we’re planning.”

Rhys gave a slow nod, his gaze flicking toward the window as if he were already piecing things together in his mind. “Agreed. But we give him space. Azriel’s earned that much.”

Cassian leaned back in his chair, his eyes thoughtful. “Yeah, but if he disappears again, I’m dragging him back here myself.”

The group shared a small laugh, but the lingering tension remained. Azriel’s absence weighed on them more than they were willing to admit, and the mystery of his sudden break gnawed at their collective curiosity.

As the conversation lulled, Rhys’s gaze turned distant, his thoughts clearly elsewhere. He could sense there was more to this story than what met the eye. Something was going on with Azriel—something deeper than just taking time off.

But for now, they would wait. And watch.

---

YN walked into the pleasure home, the familiar scent of incense and low hum of conversation filling the air. She had grown accustomed to the atmosphere over the years—the darkened rooms, the hushed voices, the hidden glances exchanged between patrons and the workers. Tonight, though, something felt different. Her nerves were on edge, her mind still unsettled by the feeling that she was being watched the other day at the market.

As she adjusted her black silk dress, ensuring it clung to her in all the right places, she pushed those thoughts aside. She had work to do, and there was no room for distractions. She glanced around the room, scanning the faces of the patrons lounging in their seats, drinks in hand and their eyes on the stage where the night's entertainment had just begun.

And then she saw them.

At one of the booths near the back, sitting comfortably as if they belonged, were Rhysand and Cassian. But this time, they weren’t alone. Their partners, Nesta and Feyre, were with them. The sight of the group made YN pause for a split second, her breath catching in her throat as recognition hit her. It was them—she had felt their presence before. They were the ones who had been following her at the market just the day before.

She played it cool, forcing a neutral expression onto her face as she straightened her posture. Whatever they were doing here, she wasn’t going to let them know that she had figured it out. She was already too involved in the tangled mess of Azriel’s secrets, and the last thing she needed was to attract more attention from his friends. Especially Feyre and Nesta. If they even had the faintest idea about her connection to Azriel, things could go downhill fast.

With a calm smile plastered on her face, she made her way toward their table. Her heart raced beneath her composed exterior, but she kept her movements steady, her steps measured and graceful as she approached the group.

"Good evening," YN greeted them, her voice smooth and professional as she came to a stop by their table. "What can I get for you tonight?"

Rhysand, ever the picture of charm and elegance, offered her a polite smile. His violet eyes met hers briefly, but there was a flicker of something beneath the surface—curiosity, perhaps, or maybe suspicion. Cassian leaned back in his chair, his arm draped casually over Nesta’s shoulders, while Feyre, sitting next to Rhys, regarded YN with an air of quiet observation.

“We’ll start with a round of drinks,” Rhys said, his tone casual, but YN could feel the weight of his gaze on her, as if he were sizing her up. “Something strong.”

YN nodded, jotting down the order even though she didn’t need to. She had memorized the menu long ago. “I’ll be right back with that.”

She turned on her heel and walked away, her mind racing as she made her way to the bar. It was no coincidence that they were here again, especially after what happened at the market. Rhys and Cassian had come to the pleasure home with Azriel once before, and now this was their third visit in such a short time. It couldn’t be a casual night out—it had to be something more.

Harvey, her bartender friend, raised an eyebrow as she approached. "You okay?" he asked quietly, noticing the tension in her shoulders.

YN forced a smile, shaking her head slightly. "Fine. Just...unexpected company," she muttered as she handed him the drink order. Her mind was spinning with questions, but she knew better than to discuss anything in the open.

As Harvey prepared the drinks, YN leaned against the bar, trying to steady herself. She had to stay calm, keep up the act. If Rhysand and the others were here for information, she couldn’t afford to give anything away. Not about herself, not about Azriel. Not about Knox. They still had no idea about her and Azriel, and she intended to keep it that way.

After a few minutes, Harvey slid the tray of drinks toward her, and YN lifted it carefully, balancing it in her hands as she returned to the table. She felt their eyes on her as she approached, but she kept her expression neutral, her smile practiced and professional.

"Here you go," she said, setting the drinks down in front of them. She noticed how Feyre’s eyes lingered on her for a moment longer than necessary, as if trying to place her.

"Thanks," Cassian said, his voice gruff but polite. Nesta glanced up at YN briefly before turning her attention back to her drink, uninterested in the small talk.

As YN set the last glass down in front of Rhys, she caught his gaze again. His expression was calm, unreadable, but she could sense the questions lurking beneath the surface. She had been in enough rooms with men like him to know when someone was trying to figure out a puzzle—and tonight, she was the puzzle.

Before anyone could say anything further, YN gave them a small nod and turned to leave, her pulse quickening as she walked away. She had to be careful now. Whatever game they were playing, she was already too deep in it. And with Azriel out on his week off, the last thing she needed was for his inner circle to find out about Knox—or their relationship.

As she walked back toward the bar, she allowed herself a moment to breathe. They were watching her, but she had survived worse. She just had to keep her head down, play her part, and hope that they wouldn’t dig too deep.

But the nagging thought wouldn’t leave her: Why were they here again? And what, exactly, were they hoping to find out?

YN stepped through the door of their small apartment, her body aching from the weight of the day. Exhaustion clung to her like a second skin, and her mind raced with endless thoughts—who had been spying on her, why the Inner Circle kept showing up, and what it all meant for her and Azriel. She had kept her cool at the pleasure house, but the constant pressure of pretending everything was normal while being watched was wearing her down.

The familiar warmth of home wrapped around her as she shut the door quietly behind her, but the tension in her body refused to ease. She dropped her bag on the floor, her gaze flicking to the couch where Azriel sat, barefoot and bare-chested, with only a pair of loose sweatpants hanging low on his hips. He was leaning back, a book resting in his hands, though the moment she entered, his golden-brown eyes were on her, sensing her frustration without needing to ask.

“Rough night?” Azriel asked softly, his voice a low rumble that sent a shiver down her spine. He closed the book and set it aside, his attention fully on her.

YN gave a small nod, too tired to speak. The weight of everything pressed down on her, making her feel like she could collapse right there in the doorway. Her shoulders slumped, and Azriel immediately got up, moving toward her with a fluid grace that belied the exhaustion she knew he carried too.

He reached for her gently, his hands sliding under her shirt, lifting it over her head in one smooth motion. The cool air hit her skin, but it wasn’t the chill that made her shiver. It was the way Azriel’s hands worked with such care, as though she were made of something fragile, even though he knew better than anyone that she wasn’t.

When he unclasped her bra and slid it off her shoulders, YN let out a long, shaky breath. Azriel’s presence was grounding, his hands firm yet tender as he guided her to the couch. He sat down first, pulling her with him until she was lying against his chest, her legs draped over his as she settled into his warmth. The steady rise and fall of his breathing was the only sound in the room for a moment, and YN could feel some of the tension in her body begin to melt away.

But she still felt overwhelmed—by the spying, by the uncertainty, by the weight of the past few days.

Azriel knew. He always did. His calloused hands moved to the scars on her back, the ridged lines that traced where her wings had been brutally clipped when she was only nine years old. It had been a trauma that never left her, not in all the years since. Even though she had healed, those scars still carried memories she couldn’t shake. And Azriel knew how much they haunted her.

His fingers brushed lightly over the scars, tracing the familiar pattern as he began to massage the tense muscles beneath. The pressure was just enough to ease the knots that had formed in her back, and YN couldn’t help the soft sigh that escaped her lips. He always knew how to take the pain away—both the physical and the emotional.

"Talk to me," Azriel murmured, his voice a quiet invitation. "What happened?"

YN closed her eyes, letting the warmth of his body and the soothing motions of his hands carry her for a moment. “I think they’re watching me,” she whispered, her voice barely audible. “I recognized Rhys and Cassian at the pleasure house tonight, and... they’ve been following me. I know it.”

Azriel’s hands paused briefly before continuing their gentle rhythm. He didn’t ask who “they” were—he didn’t need to. He had already suspected the Inner Circle’s involvement, though hearing it confirmed made his chest tighten.

“I’ll take care of it,” he promised quietly, his voice steady and unwavering. “You don’t have to worry about them.”

But that wasn’t the only thing gnawing at YN. There was more—the weight of being watched, the fear that their secret might be exposed. The fear that her past, her clipped wings, her life at the pleasure house, and everything she had built with Azriel and Knox would come crashing down.

“They don’t know about us, about Knox,” YN continued, her voice trembling slightly as she curled in closer to Azriel. “But if they keep following me... I’m scared they’ll find out.”

Azriel’s arms tightened around her, pulling her flush against his chest. His lips pressed a soft kiss to the top of her head, a silent reassurance. “They won’t,” he murmured, his breath warm against her hair. “I won’t let anything happen to you or Knox. You’re both safe.”

YN buried her face against his chest, the steady beat of his heart calming the storm inside her. She believed him—she always did. Azriel had been her anchor, her protector, the one person who had stood by her when no one else would. But even with his promises, the weight of everything still felt like too much.

His hands continued to work at the knots in her back, his fingers gentle yet firm, easing the tension from her muscles. YN let out a shaky breath, feeling her body slowly relax under his touch. She closed her eyes, allowing herself to sink deeper into the safety of Azriel’s arms, the familiar scent of him wrapping around her like a cocoon.

For a few moments, it was just them—their shared silence, the unspoken bond between them. Azriel’s hands never stopped moving, soothing the aches and pains that had built up inside her. His presence was her sanctuary, the one place she felt truly at peace.

And for now, that was enough.

Let me know if you'd wish to be tagged! Comments and reblogs are really appreciated!

There's three more chapters left and I think I might make a sequel but not with the mmc you think it is.... But the drama unfolds in the next chapter

[accirax]

Danganronpa: Despair Time Chapter 2 Episode 14 Dissection

I can't think of how to introduce this dissection other than just saying "god damn??". This chapter-- especially its second part-- has been a wild ride, and one that it appears we're nearing the end of. However, we still have one important question left to answer, which I'm sure I'll talk about here. So, let's chat.

SPOILERS for Danganronpa: Despair Time Chapter 2 Episode 14.

Also, I will be discussing Ace and Eden as equally likely blackened candidates in this post. If it will upset you to hear about the prospects of either or both of them being the killer, you might want to sit this one out.

Given what happens later in the episode, it's very interesting that the episode began with (more or less) Ace "admitting" that he has no idea how the murder mechanism worked. A truthful method of disqualification, or a masterful play by Ace to ask Teruko to ask him about the murder method only to pretend that he has no idea what it was? Time will have to tell on that one, because I honestly have no leads.

Similarly, is this Eden being genuinely shaken up and not remembering what transpired in the Gym, or trying to play the helpless innocent card to get out of having to help Teruko explain the murder method that she stole? Spoilers for my thoughts later in this dissection, I guess: they're so evenly matched that it's crazy.

I've always thought that Hu is the prettiest DRDT character, and this episode did nothing but prove me right. Hot damn, ma'am.

The insistence that this questioning is "traumatizing [Nico]" makes me think that Hu could be projecting her own experiences on to them. Perhaps she was once an innocent in a situation for which she kept taking the blame? That would be interesting as another connection between Hu and Nico, of both of them having taken the blame for someone else's follies.

This was a hilarious comeback; never change, Ace. Or, maybe you do need to change slightly, to become a less cowardly and impulsive person. Or maybe I should at least be rooting for you to have the chance to change in the sense that you live long enough to have that work out for you.

Yet another instance of J being the one to say that murder is bad. I wonder if this has to do with her character/backstory in some particular way (although given what we know about her past I have no idea what that would be), or if DRDTdev just needed a judgmental and confrontational person who would snap back at anyone to take over these kinds of lines.

(That's not me dunking on J's character btw she's valid for this)

This was a really clever way for Charles to phrase this to make Hu listen and settle down. I appreciate the out-of-the-box yet logical thinking. (Also I missed hearing Charles' voice :,D)

Woah, I was not expecting to get a Closing Argument comic for the Gym murder, but I am obviously delighted that we have one! Also, OH MY GOD, THE CEILING GRATE. How did none of us even think to consider that as part of the murder mechanism?

However, there are still some aspects of the state of the Gym that haven't yet been accounted for with this version of the murder timeline. I don't really think it's anything that would stop Nico from being Ace's would-be killer at this point, but I'll list them out here in case they are or in case they turn out to be relevant to Arei's murder. I'll also be trying to debunk them, though.

Moved Benches: Some of the benches near the pullup bar were knocked over. These probably fell either in some sort of struggle while knocking out Ace, or when Ace's body fell from the fan.

Moved Weight Rack: The weight rack was moved closer to the bench press and flipped on its back. I guess this really was also knocked over in the same fashion, no matter how unrealistically difficult it should have been to move due to its weight? Or it really was "workout preferences"???

Nico's Missing Cowl: When Teruko and Eden found Nico at the scene of the crime, they weren't wearing their typical dark cape thing. I have no clue why. You could say that Nico was trying to look less instantly recognizable, but it's not as if anyone (other than maybe Teruko) who saw a dark-haired 5'5" individual in a blue shirt instead of a gray cowl would think it was anyone other than Nico. There's also ye olde theory that they might have used it to soak up blood somewhere, but 1) Ace seems to have lost less blood than it may have seemed, and 2) the cowl was still not seen anywhere in the crime scene. I think I remember speculating that after Nico hypothetically used it to soak up blood (or, on second thought, maybe used it to gag Ace with the turpentine), they then stuck it in the fridge to hide it for the time being, at which point MonoTV discarded it and Nico got a new cape from their room. Maybe if it was used to apply the turpentine, Nico also could've put it away to prevent themselves from being affected by the fumes? I guess that's what I'm going with.

Lack of Tape on Pullup Bar: So, this one is obviously relevant to the murder already because Rose not being able to do a pullup is part of what tips off Teruko to the fact that something is off with the tape. However, I have no idea why the tape actually got removed from the bar. I still maintain that I don't think anyone could have stolen the tape off of that bar and repurposed it elsewhere-- most online sources seem to agree that kinesiology tape isn't reusable, and the fact that it was already wrapped around the bar in such a tight spiral would make it difficult to conform to any new specific shapes. My best guess is that Nico might have tried to use the bar instead of the light grate at first, determined that the tape was preventing the wire from sliding properly, and then removed the tape before determining the bar still didn't work. Or, Nico could have tried using the bar before settling on the broom, and thinking that it wouldn't work with tape on it... for some reason? Kinda scratching my head here.

I wonder how long ago it was. It's been four days since the Chapter 2 motive was revealed, although Ace was attacked only two days after the motive. Furthermore, Ace had started bullying Nico to some level already by the end of Chapter 1. I'm sure that Nico must have known what their secret was and probably didn't want it to be shared. My guess would be that they probably started cooking on murder pretty shortly after the new motive was released. That would also work with Charles-via-Whit letting everyone know what the custom weapons were in the first Class Trial.

This was the perfect response for Nico's character. They don't understand why an untruthful "sorry" would actually serve as a courtesy for most people, so they try to say what they feel and get ostracized for it.

Gotta say though, Ace, that was a pretty aggressive reaction from someone who said he "didn't need other people to tell him lies just to keep him happy" ;) (/j)

Damn, way to throw Levi under the bus. I can see why, for someone like Nico, they would want to assert themselves as not the most abnormal person here, though. I just want them to be neurodivergent buddies :(

If that's the case, then I'd have to imagine that we won't be seeing Nico as a killer again down the line. However, they could also just mean "getting caught"/"going in without a solid gameplan," so it's still possible we will. There's also the possibility of them doing something more like a sacrifice kill, although it would take a lot of character work to make something like that feel within Nico's nature.

Sorry to keep screenshotting every little thing Nico says but they keep saying really interesting things. The fact that Nico specifically mentions their father as opposed to "parents" or "family" makes me think that we'll hear more about their father specifically sometime in the future. Or, who knows, maybe their other parent left or died.

Nico: I don't expect you to forgive me. Very few people ever do. So I don't see the point in acting sorry.

This was very interesting as an addendum to the above screenshot. What exactly did Nico "ask for" forgiveness for in the past? Was it just more social blunders, as they described in ch2-e2, or did they get into more trouble closer to this level than we realized? It could also be an indication that Nico has spent time with people who believe that being nonbinary is a crime that Nico needs to feel sorry for. Fascinating stuff, indeed.

Points for Ace being the killer. We know that he went into this trial looking to suspect Nico ("[...] I'm pretty sure I know who the murderer is. It's not David, it's Nico"), so if Ace is the killer, it would make sense if he'd want to make the crime scene resemble Nico's to make his bait more credible.

Hey, it's the aforementioned T A P E T I M E, motherfuckers :D (still /j) Personally, it's quite gratifying to hear that it wasn't just a visual malfunction or a minor detail blown way out of proportion.

You're, uh... getting to this point much faster than I expected, queen. I don't think she's now going to go down the exact same distrustful rabbit hole that she was in before, but there's definitely still potential for her hopes to be crushed by the end of this chapter. Or, maybe she will accept some people as genuine friends, and instead in the future have to confront how she feels when she loses a genuine friend, or not blaming herself for the effects of her luck, or something along those lines. I like that Teruko isn't a static edgy protagonist, though. Like, don't get me wrong, I've always known and appreciated that she has depth, but it's refreshing that she isn't someone who's so stubborn about her own way of thinking that she refuses to admit when she's in the wrong. Teruko really wants friends, guys.

TERUROSE REAL??????

(Also Rose's speech was excellent as well I just didn't have anything in particular to say about it other than "wow" at the moment)

Yahoo, lockdown logic strikes again! Also, a quick

Is Teruko Correct In This Assumption?

Personally, I fully think yes, only Ace or Eden could be the culprit at this point. MonoTV confirmed that it tried to restore the Gym to the best of its ability but couldn't return the tape, which means both that there was no tape in the Gym to be taken and that there was never any spare tape in the Storage Room that MonoTV could have used to replace the roll. I guess you could say that there was an extra roll of tape in the Storage Room that someone else took before the murder took place, but that level of coincidence seems implausible at this point in the Trial.

No, for anyone other than Eden or Ace to have acquired the tape, they must have either stolen it from one of those two or asked for it from one of those two. Asking them seems very unlikely-- for starters, if it was Ace who took the tape, I don't think he'd be giving free hand-outs to anyone. And, if Eden isn't the killer herself, that means all of her fright regarding stumbling upon Ace's body was genuine. I don't think she's naive enough to then hand over what was used in Ace's murder to anyone asking... or at least not without bringing it up now. Beyond that, anyone who would ask either of them for the tape would have to know that the tape was used in the murder attempt, knowledge of which was very limited. This episode went to lengths to establish that Nico was the sole culprit behind the attack on Ace, and while it's still possible it could all be an elaborate lie, the explanation Nico gave felt very in character and important for their characterization moving forwards. So, while Nico would obviously know it was used, if Nico asked either of them for the tape, surely neither Eden nor Ace would trust them. Otherwise, I think Rose is the only one who could have found out it was gone, but even so, given that neither Eden nor Ace have tried to argue that Rose asked them for the tape, I don't think that happened.

You could also say the same of neither Eden nor Ace claiming to have had the tape stolen from them-- but I could see either of them feeling like claiming to have taken the tape at all right now would be a death sentence, so I understand why they wouldn't say it. Still, I don't know if the narrative is there to support the tape having been stolen from them. On the day after the Gym murder (Day 7), Eden isn't seen in the daily life at all. If someone stole the tape from Eden on that day, I would think that DRDTdev would at least want to show us who Eden was spending time with on that day (given that he put in the effort to make the tape sprite disappear from the Gym at the time it did), so that we would have any idea who might have done so. Ace is seen once in the Day 7 daily life, arguing with Hu, Nico, Levi, Veronika, and Arei. However, having just been attacked, I imagine he'd be hyper-aware of anyone getting close to him, and therefore would be more likely to notice if someone was rifling around in his pockets (if he has pockets?).

Really, I think the only possible candidates for who could have stolen tape from Ace or Eden would be Levi (mostly just for Ace) and Arei (from either of them). Levi might have had an opportunity to take the tape from Ace on the night he was attacked, the night of Day 6. Eden said last episode that Levi "kept trying to help him" after Ace was attacked, which could imply that Levi was the one to put bandages around Ace's neck. Furthermore, he does have a criminal past, which could make him better at stealing. Similarly, Arei is confirmed to be a good pickpocket, stealing Min's pen without Min noticing at all. I think she's the only one with the proper buildup to have taken the tape from Ace at that breakfast, and would be the most likely to have spent time with Eden when Eden was off-screen. (Although, it would have to have been before lunch, because Eden says the last time she saw Arei was at lunch.)

However, I don't think many people think that Levi is the killer anymore, and if Arei stole the tape from Eden or Ace only for the killer to then steal the tape from Arei, I would start to wonder why DRDTdev even made the tape such a scarce resource in the first place. Remember that, if the killer was purposefully trying to recreate Nico's idea, they likely knew in advance that they would need the tape to pull off their plan. It was used in enough places that seizing the opportunity to take it off of Arei seems unlikely, as it was too fundamental to the plan's inception. Besides, for the killer to replicate Nico's plan in the first place, the killer likely needs to be Nico, Eden, Ace, or Teruko, who are the ones who could have most easily taken the tape on their own.

I've already seen people accuse this Trial of being bloated, and while I strongly disagree (I only think cases are bloated when they're stalling for time and have nothing of interest to discuss, and we've still had PLENTY of interesting stuff to discuss), if we spent a whole 'nother who-knows-how-many episodes reversing all of the progress we just made to say that either Nico wasn't actually the one to kill Ace or that someone who didn't see the crime scene killed Arei, that bloating problem would only seem worse to those people.

I understand if you don't want to believe that Eden or Ace has to be the culprit for whatever reasons-- whether that be that they're your favorites and you don't want them to die or you really like your theory and don't want it to be false-- but I really think that this episode cemented that either Ace or Eden will be voted for as the blackened for all of the reasons above. Therefore, I shall be proceeding accordingly.

She was WILD for this. Hilarious line of reasoning.

What's Up With the Body Discovery Announcement?

The "reveal" of this line of logic was no surprise to me. As someone who's believed that Eden is the culprit for quite a long time, we've had to figure out ways to get around this thing before, and besides perhaps "not witnessing the murder," someone else seeing the body before the BDA rang is the most obvious way to cheese it.

However, in order for this to be a thing, we have to ask ourselves-- who would have actually seen the body first?

David claims to, but he has an alibi starting at 7:30 AM with Veronika and J. Both because Arei theoretically wasn't dead before then and because we've been operating off of the assumption that a meal takes about 30 minutes to eat, I don't think any of the three of them could have stumbled across Arei in the morning. Nico and Hu both have an alibi, which I'm going to consider solid enough to remove them from possibility-- one of them spotting the body would be helpful to make Eden the killer, and I think the only people who believe that Hu and Nico are lying only believe so under the condition that one of them is the killer. Whit is out, because him seeing the body beforehand doesn't actually accomplish anything, and so is Charles, because we can assume that, if he saw the body, he would be out of commission. I'm also going to strike Rose from seeing the body before breakfast, both because she's very likely to have been asleep and because if she had already seen Arei's body in the Playground, she probably wouldn't have refused to draw a diagram. That would leave only Ace, Levi, and Arturo as non-blackeneds who could have helped facilitate culprit!Eden from not being caught by the BDA.

However, we also have to consider that "before 8 AM" isn't the only time someone could have stumbled across Arei's body. They also could have seen it before Teruko, Eden, and Whit did while everyone was looking for Arei. So, what do we know about what happened during the search for Arei? Not much. Hu says that they should split up, while J says she's going to check Arei's room. Teruko says that most people are probably searching the first floor, an assumption that's supported by Teruko, Eden, and Whit not seeing anyone else while they check the second floor. You might think that would eliminate the possibility of anyone else seeing Arei's body during the search, but Teruko did say most people, not all. There's also what MonoTV said when Teruko and Veronika were investigating the Gym.

MonoTV: It's too high! If you stood in the movie screening room on floor one and started punching through the walls, you'd fall into the playground.

This not-yet-addressed piece of evidence got me thinking about the possibility of someone seeing Arei's body from above, standing in the Motive Screening Room. It still probably couldn't be Teruko, Whit, Charles, Rose, or J, but anyone else would theoretically be back on the table if that were the case. That being said, I can't find any visual differences in how the Motive Screening Room looks between the beginning of Chapter 2, when the search for Arei begins, and when Teruko goes to check the motive secrets (other than a curtain being added over the screen in the third case). So, unless there was already a heretofore unmentioned hole to peek through in the room, I wouldn't count on that being the case. The connection between the Motive Screening Room and the Playground will probably just be relevant to a different chapter.

Therefore, that leaves us once again with Ace, Levi, and Arturo. The main problem with believing that any of them could have seen the body beforehand is why they wouldn't have brought that up at this point in the Trial. Here are my best guesses as to why:

Ace: I have genuinely no clue why Ace wouldn't have brought up that he saw the body in the morning (assuming that he actually did) to defend himself at this point. It's not like it would make anyone more suspicious of you.

Levi: Levi does seem to be a bit dense regarding what is and isn't helpful behavior in a Trial, so the most likely possibility to me is that he just didn't realize that confirming he saw her was helpful. Like, "oh, I didn't realize that me confirming that I saw Arei would help us pin down Eden as the killer. I was just trying to figure out how David and I both saw Arei's body this morning and I didn't see him." "Wh-- David was obviously lying!" "He was?" "I already told you he was lying before..." "Levi... we talked about this..." Bonus points for it not being out of character for Levi to be unfazed by seeing a body, though.

Arturo: In Arturo's case, I think it would have to be that he'd still be worried about people seeing him as suspicious for saying he found Arei's body in the case of accusing Eden specifically. They already have a past history of conflict, and I could see someone brashly accusing Arturo of throwing Eden under the bus just to get revenge on her for the secret thing (even if I don't think he would actually do that). He also made an enemy out of Arei, so I don't think he would be particularly fazed by seeing her corpse either-- similarities to Felicity's cause of death notwithstanding. However, I also find it likely that he trailed after J in going to check Arei's room.

So, what's our conclusion here? Does this mean that Eden is basically fully cleared by triggering the BDA? I wouldn't count her out just yet, but the evidence isn't looking great for her. It's quite possible David only brought up this argument to A) hold out suspension of disbelief that it's not just Ace for a little while longer, B) drop this logic as foreshadowing for a future killer's plan, C) characterize the kind of logic he uses in a Class Trial, or D) bring up this argument in canon so that the people who theorized that the BDA might not clear Eden or Whit wouldn't be like, "wait, but what about...?" However, it's also possible that one of the possibilities I listed above, something I might have missed, or the "see no evil" idea (as FF put it) could keep Eden in contention. That dynamism is part of what makes Ace and Eden feel so evenly matched.

See, this is what I assumed David was getting at after Nico reminded me of his early-morning alibi. But then he just kept talking...

I'm not going to delve into what David was thinking here too much, because I already have an anonymous ask about what I think David's rationale was that this will almost certainly come up in. However, as a short version, I imagine that David is trying to get everyone angry at each other in the hopes that it'll incite another murder that he can get the class to fail? Or to cause enough discord in the group that they just fail this one. That would be why he also rags on Rose for not remembering the tape, and insults Arturo's sister-- he wants no one to trust anyone so that the murder-solving process will be as un-streamlined as possible.

The fact that he targets Teruko so specifically is probably because he (accurately) assesses her as the only real threat there. Charles and Rose can help, sure, but their mental struggles make them easy enough to eliminate if you play your cards right. Teruko's main flaw is her lack of trust, so if David wants to weaken her, it makes sense to go right for that jugular. Furthermore, by stating his plans so plainly and publicly, it might incite other people to fight back against him and say that Teruko should trust them. However, that kind of olive branch might make Teruko even less inclined to get close to them, if what Teruko said to Eden at the end of ch2-e03 can tell us anything. Didn't stop Eden from trying at the end of this last episode, though!

After taking some more time to think about what David was up to this chapter, I might change my mind on those being his goals. But, this post does serve as my initial thoughts of sorts, and that's what I initially think about this scene.

I wholeheartedly agree.

Does Ace Have Nothing To Do With Arei?

What Ace has to say is more or less true-- barring the breakfast in which Arei didn't talk at all (AKA, no conversation), Ace has literally never been in a small group event with Arei. However, although they didn't talk to each other, Ace did overhear the conversation between David and Arei, which does give him a connection to Arei. Quite relevantly, Arei did say this to David during their conversation:

Arei: You said that sharing our secrets would help fight against the motive. But when I think about it, not a single good thing has come out of that. Eden was stupidly naive, as usual, and tried to talk to Arturo, so now I have to protect her.

From this, Ace could probably surmise that Eden had Arturo's secret, she talked to him about it, and that Arei stepped in to save her from Arturo. He was one of the few people who could have known that Eden and Arei grew closer before the murder occurred: another connection Ace had to information about Arei.

However, before you use that evidence to call Ace the killer, let me remind you that he still doesn't have enough information to write the note from just eavesdropping on this conversation alone. As I outlined in this theory (same as the one I just linked above), whoever wrote the note had to specifically know that Arturo's secret was about his sister, which Arei doesn't divulge (quite possibly because she didn't even know) to David. Therefore, although Arei mentioning Arturo and Eden in this conversation is interesting, it doesn't actually make Ace any more likely to be the killer, because he still would have needed to find some way to spy on Eden's secret and/or Arturo and Eden's conversation to write that note. (Unless mentioning the sister specifically was an oversight plot hole, but I never want to use that as my reasoning.)

So, do I get what Arturo is getting at? Yeah, Ace and Arei were never particularly involved, and Eden clearly has a greater connection to the victim. However, there is more to the Ace/Arei bond than it might first appear, and it's possible that could come up in the Trial moving forward.

This distinction-- between "Arei was my friend" and "Arei could have been my friend"-- could be very telling down the line. Eden pauses mid-tear-filled rant to distinguish that Arei is not her friend, not because she's dead, but because they hadn't reached that point yet. Arei is not Eden's friend in death. What can that possibly mean other than that Eden killed Arei?

... BUT THEN HOW THE FUCK CAN EDEN GO AND SAY ALL OF THIS, BE THE KILLER, AND THEREFORE PROVE DAVID RIGHT???

AND THE "BECAUSE THAT'S WHAT FRIENDS DO" REFERENCE??? AT THIS HOUR????? I DON'T EVEN KNOW IF THAT MAKES HER SEEM MORE OR LESS SUSPICIOUS!!!!

OUGH AND THE MIN PARALLELS TOOOOOOO

MIN WAS TERUKO'S FRIEND BUT ALSO A KILLER. DOES THAT MEAN EDEN IS GOING TO BREAK THE CYCLE OR DOES IT MEAN THAT WE'RE STUCK IN A DOOMED STORY IN WHICH TERUKO IS THE PROTAGONIST? IT COULD GO EITHER WAY!!!

Jumping back in time for just a moment...

A Piece of Evidence That Lines Up to Them Only

I thought about making this its own separate post, but decided not to. If you guys want me to make this part it's own separate post so it's easier to find/comment on directly, let me know, and I'll set that up.

But before you can make your decision, I suppose I have to explain what I aim to do here. Basically, Teruko has told us that she's still torn between Eden and Ace (mood), and that, while she'll start off attacking Ace, she's looking for any pieces of evidence that could prove that only one of them could have committed the crime. Problem is, we have no indication of what that specific piece of evidence could be, and, trust me, it could be a lot of them. Thus, what I'm going to do in this "mini" theory is list out every piece of evidence that I can think of, and say whether it points to Eden being the culprit, Ace being the culprit, or it can't point to either of them. Perhaps once we're done, you'll see why I'm so conflicted on which of them it would be.

I'm going to tier these pieces of evidence in terms of least likely to be the missing piece to most likely to be the missing piece, starting with all of the aforementioned unexplained gym evidence. The knocked over benches and weight rack were not part of the replicated crime scene, and I have no idea how Ace or Eden would have wound up with any version of Nico's cowl. The missing tape on the pull-up bar has the greatest likelihood to be relevant, but as we're already suspecting both of them for having the tape, I don't think it'd be a decision maker. Any of those pieces of evidence would be likely to come up in proving that Nico wasn't the one behind Ace's murder, but this theory is operating under the assumption that Nico is the one who tried to kill Ace, and either Ace or Eden killed Arei. If you want the answers for your own theory, do your own homework. (/lh)

Ace or Eden will get a point for any evidence that I think would better be used to accuse them as being the culprit. Therefore, winning points is actually a bad thing if you want to be innocent. For convenience of "scoring," Eden will be purple because of her shirt and Ace will be pink because of his "maroon" hair... and because I needed red and orange for the likelihood ranking.

UNLIKELY FINAL PIECES OF EVIDENCE

Arei's Body Swinging: This evidence has already been used to establish that Arei was killed in the morning, not at night. Either Ace or Eden could have killed Arei at 7:30 AM, so point to neither of them.

Ace Trying to Assign Himself to Guard Duty: This one is obviously a point for Ace if it were the final piece, but it's such a minor happenstance that I doubt Teruko would think to bring it up as the main thing against him. Like, she could bring it up in general, but I don't think it'd be her crowning jewel. Still, it's a piece of evidence we haven't discussed yet, so credit where credit is due.

Arei's Bound Wrists: Bound by the grippy tape that either of them could have stolen. Point to no one.

Broken Playground Lights: The lights in the Playground are broken, likely from the mechanism being hung up through the ceiling rafters. You could argue that this is a point for Ace's strength, but I don't think throwing a ball that high requires so much strength that Eden couldn't do it, especially if you might be able to use the see-saw to launch it somehow. Point to no one.

Dried Up Puddles: This has nothing to do with either of them. Point to no one.

Carousel Wrapped in Tape: Again, either could have had the tape, so point to no one.

Two Pieces of Rope: Either of them could have taken the rope from Storage and cut it; point to no one.

Food/Utensils/Napkins in Trash: Probably David's dinner. Possibly evidence of Eden and Arei having breakfast together, but that's a stretch. Point to no one.

Cups/Tissues/Palette in Trash: Rose says these were hers. Point to no one.

Incense in Trash: I know thebadjoe had (has?) theories about this being used to conceal the scent of Arei's body being hidden in the Relaxation Room a day earlier than anyone thought, but I find that to be too much of a stretch to accost Eden for it here. I think it's just filler. Point to no one.

Grippy Tape in Trash: I should just stop writing out tape evidence. Point to no one.

Broken Jugs: The killer used jugs of water to make Arei heavier, which broke when she fell. They probably had the fish water in them, but we're not talking about the fish themselves at the moment. I'll say point for Ace because the jugs are probably from the Gym, and we've seen Ace in the Gym far more times than we've seen Eden.

Needle and Black Thread: This evidence... might have to do with the ball of clothes, which we'll get to later. However, if this is relevant to the murder, it's probably from the Dress-Up Room, in which we've seen Eden but never Ace. Point to Eden.

Construction of the Note: After a bit of internal debate, I'm going to call this a point for no one. Why? Well, it's because Eden would have reason to help construct the note whether she was the killer or not. If she is the killer, she might have wanted to guide the discussion that followed its reconstruction, to urge to Rose and Whit that she's innocent and that someone must have framed her. It would also give her reason to come into the Trial already having a handwriting sample on her. However, if Eden is innocent, she also easily could have just wanted to help out. Most importantly, Eden already brought up the note being constructed in her initial defense, so I doubt Teruko would reuse it as the nail in someone's coffin.

Splashing Arei With Water: Either of them could have thought of this and accomplished this. Point to no one.

SOMEWHAT LIKELY FINAL PIECES OF EVIDENCE

Body Discovery Announcement: While this may very well play an important part in solving the case, I don't think it'll be the final smash, so to speak. That's mostly because we already talked about it a lot in determining whether Eden could have done it. In the end, I think we'll either have to come up with a way to justify Eden having cheated the BDA-- by Levi or Arturo having seen it or via see no evil-- or we'll accuse Ace without the BDA being a problem. I guess I have to call this a point for Eden because if the BDA were to be the damning evidence, I think it'd have to be for her. However, in my heart, this is totally evidence supporting Ace being the killer.

Arei's Broken Neck: I'm using this as a stand-in for the strength of the killer, in the sense of lifting Arei up and being able to stop the carousel. This is a point for Ace, because he's a professional athlete and Eden is generally the weakest person in the cast.

Scratches on the Ground: This evidence certainly seems to indicate that there was a struggle at the Playground, but is there anything more to it than that? I'm more willing to believe that Ace could have beaten Arei in a fight, but does that point to Eden because there would've been more of a struggle, or Ace because Eden wouldn't have wanted to fight Arei at all? Ace also normally wears heels (while Eden and Arei don't), which is what Hu cites will naturally scratch up the floor. This evidence is vague enough that I don't think it'll be used to point to either of them, but if it did, I think it's more likely to be Ace.

Ball of Starched Clothes: For starters, I'll share (I think it's) thebadjoe's theory that the ball was adhered together using starch from the Relaxation Room that's sprayed on the plants at night, because I saw some people questioning how the clothes could have been stuck together. Anyways, the ball of clothes itself is definitely a point for Eden, because we saw her in the Dress-Up Room specifically looking for Teruko's clothes. Although, Ace certainly saw Teruko and Hu's new fits, so he could have figured it out for himself.

Actual Acquisition of the Tape: I don't think this will be used as the final piece just because I feel like the narrative is pointing towards the damning evidence relating to Arei's actual murder as opposed to Nico's. However, it's relevant to discuss, so I'll list it here. Although Teruko says that Ace and Eden had equal odds at the tape, on the surface, it really makes much more sense if Eden was the one to take it. Star explained it well here, but I'll add my own recap: in the moments when the tape must have been taken, in between when Nico leaves and when MonoTV kicks everyone out, Ace is recovering from unconsciousness, covered in blood, full of rage, and has all eyes on him. Meanwhile, Eden is scared, sure, but she had a clear moment to actually examine the scene of the crime and is also knocked to the ground-- potentially right next to the tape-- with all her wits about her. While it's not impossible to believe that Ace sleight-of-handed the tape, Eden had a much clearer path to taking it. Point to Eden.

MOST LIKELY FINAL PIECES OF EVIDENCE

Arei's Missing Glove: To my memory, Arei's glove hasn't been brought up in the Trial at all, which is definitely strange, because it must be missing for a reason. If DRDTdev is crafting so much detail into the BDA that the swinging of the body is plot-relevant, there's no way he would have just missed giving Arei her glove. The question is, what was this used for? Those who are familiar with my theories should know that I've never been a fan of dress-up theories, so I'm going to discount that possibility. The thing I thought was the most likely was that the killer donned the glove so that their hands wouldn't get super scratched up from grabbing the grippy tape-d carousel bars, before gleamingtempest reminded everyone that both Eden and Ace already wear gloves. Still, looking at them, Eden's gloves are probably made of something more like cotton while Ace's gloves likely have some sort of tougher grip on the inside. So, Eden would probably be more likely to need something else to protect her hands. Also, given that both of Arei's wrists have marks on them, the glove was likely taken off before her wrists were tied. I can't figure out why Ace would have taken off Arei's glove before restraining her or how he would have gotten Arei to take it off otherwise, while for Eden, at least, I can imagine her asking Arei to take off her glove. Therefore, I'm going to call this one a point for Eden, while also throwing out that it might just be missing if Arei didn't bother putting on her glove for the early morning meetup.

Fish on the Playground: You've heard it from me before, Eden has an alibi through the entire time the fish could have been taken. With seemingly no accomplices (other than possibly Arei) in sight, I don't know how Eden would have gotten her hands on those fish. Meanwhile, Ace had a great opportunity. Point for Ace.

Pieced-Together Note: This evidence is very confusing, because I don't see how/why either of them would have implemented it. For Ace, I wrote that entire theory (I'm not going to link it a third time) about how, based on the information in the note and the layout of the first floor, it really seemed like eavesdropping was impossible, and the person who wrote the note had to be Arturo or Eden. Then there's what thefandomenchantress pointed out about Ace's pedantry making it seem like he wouldn't misspell "responsible" in the note, and that he just doesn't give me the vibes of someone who writes in cursive. By all accounts, it really seems like Ace can't have written that note. But then again, why would Eden have written that note? Okay, bad phrasing; she wrote it to get Arei to come to the Playground. But still, why would she sign it? Or if she were to sign it, to make sure that Arei knew it was her, why include so much detail about what Arturo's secret was? More importantly, why wouldn't Eden have just stuffed the ripped up note into her belt, or her pockets, or her room if it would serve to incriminate her? Put it wherever she put that glove! Hell, why not eat the note, if it's a life or death situation? There's the "reverse psychology" argument, but similar to what Teruko said this episode, it would have been much simpler for Eden to have pretended that Arei came to the Playground for some other reason without the killer planting some sort of note meant to frame her. And it's not like I think Eden is really the type to misspell "responsible" either. So, I'm kind of at a loss. It's such a major piece of evidence that I feel it has to come into play again somehow, but I'm not sure how. I think I'm going to call this one a point for Ace because at the very least I understand why he would want to leave this evidence here, even if I don't know how he created it. For Eden, I don't get why she'd leave it lying around, even if in pieces. You can call it revenge for Eden getting the point on the BDA, if you wish.

So, what are the results? If you add up all the points together, you wind up with 6 points for Ace and 6 points for Eden. Funny. If you tier the points, however, with 1 point for unlikely pieces, 2 points for somewhat likely pieces, and 3 points for the most likely pieces, you get 12 points for Ace and 10 points for Eden. Of course, that's using my tierlist of which pieces of evidence are most likely and on top of that, assigning the BDA and the Note the way that they are (if you flip them it's 11-11), but still. If you're invested in my findings, these are the results.

Needless to say, I hope you can understand why I'm having such a hard time determining which one of them will turn out to be the killer. Although, I must add...

If we're suspecting Ace first before we've done our Debate Scrum, that's not a good look for Eden never being suspected again in this Trial.

Concluding Thoughts

What? A conclusion? I've never done one of these on a dissection before?!!

Yeah, well, this time, I have stuff to say that I couldn't really correlate to one image in particular! And also I ran out of images, so this is what you get!!!

I spent that whole "A Piece of Evidence" section talking about the physical evidence that could support Ace or Eden being Arei's killer, but in it, I really didn't get to talk about the narrative implications of either of them being the killer at all. I know that Narrative Defenses are typically Venus' thing, but I have my thoughts on this, too. Namely, that both of them are riddled with narrative problems for being the killer at this point.

(Note: I don't mean "problems" in the sense that DRDTdev has written anything poorly. What I mean is, my own perception of how the characters are conveyed has me currently raising red flags about how either of their stories will pan out as a killer or how the rest of the story will pan out without them. At the time the answer comes, I have full faith that I'll be satisfied with the results.)

Let's start by looking at Eden, the spotlight character of the end of this episode. After that whole heartfelt speech with the CGs and the tears and the brilliant voice acting and the everything, how could Eden possibly be the killer?! I'm the one who was trying to defend the possibility of her still being the culprit after her little rant last week, and while I could probably do that again with this speech, it just felt so... I dunno, sincere. You can really feel Teruko's reluctance to put her faith in Eden, but her choice to do it anyways. Teruko already showed signs of growth this episode by admitting that she can't always solve mysteries by herself, so could that be a sign that she might come around on the group faster than we initially anticipated? If Eden was the killer, it would crush Teruko so hard. Is there any recovering from that? Can we really prove David right?

On the other hand, Ace is, quite possibly, one of the most intertwined members of the cast. He's probably Levi and Nico's #1 correspondent, and he's up there for Hu as well-- assuming they both survive the chapter, I'm sure their animosity towards each other will only grow in Chapter 3. With Ace just having given up on Levi, having just been the target of Nico's battery and Hu's verbal lashes, can the story really work without him in it at this point? Eden hardly has connections with anyone other than Teruko-- Hu's probably next, but Eden probably ranks, like, fourth on her list after Nico, Ace, and David-- which should make her more expendable. Is it really Ace's time already?

However, despite my complaints, I also think that both of them could be really good options as the killer here-- the two options I prefer over anybody else.

Eden is the character who's most connected with Arei. She plays into the chapter themes of being a good person beautifully. She's a good person, a tragic figure, that killed not because she wanted anybody dead, but presumably because she had something back at home that she had to get back to at all costs. Killing her off would break Teruko-- would break everyone. With the reveal of everyone's secrets, next chapter is going to be a living hell, so why not make that hell worse by removing the biggest conflict de-escalator here? It would force other people to step up to bat. It would give everyone a chance to change, what Eden wanted for Arei most of all. Eden's development isn't an arc, per say, but a fall-- a reminder that even the "most good" people can do the unspeakable.

Meanwhile, Ace has perhaps the most obvious reason to kill someone: he literally almost fucking died himself. Ace's execution would be a reminder of the physical reality of the killing game. That actions have consequences. Even if the guy who started all those fights is dead and gone, you can still feel his presence lingering in the arguments between the others. The guy you underestimated most of all-- not for being kind, but for being dumb-- can send you into a multi-hour spiral in which you accuse even the sweetest of participants. Ace's development isn't an arc, per say, but a fall-- a reminder that reveling in your own distrust and anger might lead you to do the unspeakable.

For someone who's spent so long believing that Eden is the culprit of the chapter, it's really amazing how down-to-the-wire DRDTdev has made the end of the case, where either option feels so believable that it's like you can picture the rope in their hands. Whether my theories, old or new, were right or wrong, I am highly looking forward to watching next week's episode and discussing it with you all. See you on Friday-- just try not to freak out too much before then, alright? (/aff)

[hotwaterandmilk]

I'm seeing "Wedding Peach was unsuccessful" trotted out on Twitter again and it's honestly kind of funny to me. You can dislike the series, but you're rewriting history if you suggest it was a massive commercial flop/astronomical failure — it simply wasn't.

The Wedding Peach TV series maintained viewership throughout its run which is why it aired an entire year's worth of episodes (the full length it was intended to run) and didn't get cancelled like Nurse Angel Ririka SOS, for example.

I'm not going to pretend it did Sailor Moon numbers, dear god, it absolutely didn't get close hence why it wrapped as it did. I would suggest looking back now, that it was the definition of a mid-performing title for the time period. It sold toys decently but not outrageously, it got viewers but not an outstanding number, and it garnered a small but dedicated fanbase of male otaku. All of which is par for the course when it comes to a mid title in 1995.

Wedding Peach DX was produced because the TV series LD sales were decent enough to warrant it. Children were not buying LD box sets at this time, adult fans were and it was this interest that justified the creation of the four DX episodes as direct-to-video releases. If a series doesn't sell well they don't make more episodes, let alone higher quality deluxe episodes specifically for the home video market (and thus for older audiences with spending power).

It is very important to point out that Wedding Peach DX had NO INVOLVEMENT from the original creative team. Tomita Sukehiro and Yazawa Nao did not contribute to its creation, Tadano Kazuko didn't provide designs. Yuyama Kunihiko was the driving force behind the production of the DX episodes and he served as both director and writer for all four episodes (bringing on Wedding Peach animator and soon-to-be frequent Pokémon collaborator, Ichiishi Sayuri to serve as character designer).

What inspired these to be fanservice dreck to the level they ended up being is honestly beyond me. I mean the otaku market definitely wanted more episodes featuring the characters (and more songs featuring the seiyuu, if you want to see how keen otaku were for FURIL please see this post) but part of what they liked about the characters at the time was their (barfbarfbarf) perceived purity and innocence. The DX including panty shots and swimsuits kind of threw them for a loop. Even now, if you look at discussions about the DX among otaku there's a bit of a divide in opinion.

The DX episode sales were (as far as I can tell based on magazines from the time) also mid, but enough to cover four episodes. Three and four don't seem to have sold as well as one and two, but again the stats from the time aren't comprehensive. I think the fact that there weren't any after episode four says it all, honestly. OVA episodes are expensive to produce and it was extremely common for them to stop immediately if the sales weren't there. DX didn't justify its existence beyond those four episodes and Yuyama moved onto a far more successful project in Pokémon.

On that topic, I think it's important to note that Wedding Peach was OLM's first television series (albeit a coproduction with KSS). If it and the studio's adaptation of Mojacko hadn't made some level of profit it would have been quite difficult for them to adapt Pokémon. Neither Mojacko nor Wedding Peach set records with their viewership or sales numbers, but they both did "OK". It was in Pokémon however, that that OLM truly found a successful property with the series still running today. Sometimes you've got to have a few runs at producing things before you find success. Wedding Peach was one of these early runs, a project where a lot of people cut their teeth but one that didn't justify its own continuation beyond a certain point. Just a very standard media mix from the mid-90s, in other words.

Wedding Peach is a problematic title with indifference through to outright objection to representing love outside of heterosexual romance. Looking back now it feels like an absolute dinosaur on so many levels. Between the anime's fatphobic episode and Momoko dropping some gender essentialism, I'm not surprised people want to relegate it to the dustbin of history.

However, I think it is very telling that Tomita Sukehiro, when presented with the opportunity to tell a similar story in the modern day, chose to represent not just queer love, but platonic and familial love in Wedding Apple. While he can't undo the regressive and cringy elements of the original series, as a creator he has progressed and I'd like to think we can all continue to improve our outlooks and output as we grow.

Disliking Wedding Peach in the modern day is completely understandable. I'm not going to pretend anyone should watch it in 2024 without knowing that it is a camp, cheaply made relic of a time when heterosexuality was considered magic. However, just because it pandered to all the worst things trending at the time doesn't mean it didn't sell enough products or hold enough viewers to justify its production. It did, it just wasn't a strong enough property to go beyond that and that's representative of mediocrity rather than mind blowing commercial failure imho.

[haru-dipthong]

My Utena Fansub Ep 1 (link & translation discussion)

There were a lot of important decisions to be made in the first episode, since much of it is re-used in later episodes. In this post, I'll discuss some of the translation choices I made around the fairy tale opening, and the use of 様 (sama).

王子様が呉れた指輪はやはりエンゲージリングだったのでしょうか。それは良いとして、お姫様は王子様に憧れるあまり、自分も王子様に成る決意をしてしまったのです。でも良いの本当にそれで？

Was the ring from the prince meant as an engagement ring? That part was good, but because of the strength of her admiration for the prince, the princess made up her mind to become a prince herself! But is that really good for her? (from ohtori.nu)

Perhaps the ring from the prince was meant as an engagement ring? Casting the thought aside, and overcome by an idolisation of the prince, the princess instead resolved to become a gallant prince herself! But is that really what she wants? (my translation)

「それはいいとして」 is an idiomatic phrase which, if taken literally, looks like it means “considering that good” or “that was good”. In reality, it means something more like “be that as it may”. A Japanese thesaurus gives synonyms such as 「それを置いといて」, which means “putting it aside for now”. It seems as though the translators from the ohtori scripts didn’t pick up on this nuance, which is surprising because they are usually quite accurate (if a little unnatural sounding).

憧れ (akogare) is a difficult word to translate here. It’s important that the translated word can’t be misinterpreted as the princess being infatuated with the prince. “Admiration” is ok, but it’s still sort of synonymous with love. 憧れ (akogare) contains notions of aspiration, it carries the implication of wanting to become like the target of their admiration, not simply being with them. This is why I chose to translate it as “idolisation”.

I see 「でもいいの？本当にそれで」 as a VERY important line in Utena. To read Utena as queer, this line from the narrator echoes words from straight cis people lacking understanding of someone’s desire to transition. This line is something you’d say to someone who came to a party and when you offered them a wide variety of options of drinks and food, they only took water - “Are you sure? Is that really what you want?” It’s suggesting that what she really wants, what she should really want, is to marry the prince, not become a prince. This line represents the world’s resistance to Utena’s gender non-conformity — even the narrator is questioning them!

girl: あーーーーー！ウテナ様ー！ girl: ウテナ様、あたしのタオルを使って下さい！ later… Anthy: 私は今、西園寺様の花嫁です。

girl: Aaaaaah! Utena is the master! girl: Master Utena, use my towel! later… Anthy: I am currently Master Saionji’s Bride.

One goal of my translation is to make it as accessible as possible to non-anime watchers, which means finding a good translation for 様(sama).

Why master? One good thing about it is that it’s vaguely masculine without being explicitly masculine (which 様 (sama) is not, but I like how this aspect assists with delivering some of the themes of the story). But more important than that, it can be used in the two critically important contexts 様 (sama) is used in — 1. as part of the Rose Bride’s obligation to show deference to the person she is engaged to, and 2. used by the schoolgirls who idolise Utena as a fun, affectionate nickname.

The Utena-sama nickname already exists among the girls at school before Anthy starts calling Utena that. Then the girls use it, they’re using it to jokingly emphasise how skilful and cool Utena is — a “basketball master”, a “master of cool”. This has a totally different connotation to the way Anthy uses it — she uses it sincerely, to show extreme deference to her literal master.

To establish this double meaning, I made cheeky use of what is essentially background dialogue. When the girls rush the basketball court to congratulate Utena, they scream “Utena-sama”, but I translated it as “Utena is the master”, which is then followed up with the first actual use of “Master Utena”.

[archivalofsins]

Addendum (September 23, 2024 5:03pm )- It was brought to my attention by a concerned friend inquiring if something had happened yesterday that this post can come off as complaining about a fandom issue of some sort. Because of how often "Don't be like x" (in particularly Futa) has been used in regards to ongoing Milgram fandom incidents.

It was not my intention to invoke those sort of alarming past experiences for anyone that may have come across this post. My intentions when writing this were to interrogate the prevalence of that phrasing when it came to Futa as a character while including the prisoner paired with him known for bullying as well.

To put it in a plain and jovial way- These are my feelings in regards to this topic in a meme format,

Since I have now been informed of how emotionally disruptive this phrasing can be given the things it's been associated with in the past at least within the tumblr Milgram community I will be putting it under a cut with one more addendum further down that uses the same phrasing.

Once again saying to not be like Mu.

It's easy for individuals to understand why they shouldn't be like Futa. In a lot of ways, not many people would see their actions as being similar to his even when they are. This is why I stress not to be like Mu either.

Because it seems to me that a lot of people are comfortable with being bullies as long as they convince themselves they were the victim first.

A trait that's present throughout both Futa and Mu's narratives. Even if not many people recognize how emotionally manipulative, insidious, and abusive this sort of behavior is socially.

Because just like with these two, some will convince themselves it's the other parties fault for doing something wrong first.

That the person who did something wrong should just,

"You apologize if you do something wrong, you learn that even before words, don't you?"

Q.09 Do you want to apologise to the person you killed?

Mu: I think the person who did something wrong first should apologise first.

These two are simply not as different as some fans like to tell themselves. They are both reactionary bullies. Just because one goes on offense (attacks) and the other defense (cries/deflects) doesn't make one any better than the other. That's why they both got into codependent relationships with another prisoner over the first trial intermission.

Both Amane and Haruka provide them with something. Giving Futa and Mu hope and help in a difficult situation. Along with something to do with themselves to prove their own worth. They also both took on a naturing and protective role in Amane and Haruka's lives. Making the other their main priorities as of the second trial.

23/07/05 (Mu’s Birthday)

Futa: Oi, you. Is he ok? He’s not even left his room lately.

Mu: You mean Haruka-kun? Hmm. Yeah, probably. I’ve been bringing all his meals to him so he should be fine. Isn’t that great of me?

Futa: Hah? Who the hell says that sort of thing about themself. ……ah, no, well, right now I understand a bit. When you’re feeling down, it’s nice to have someone who relies on you and accepts you. The rest of us can’t really understand you from where we’re standing. But well, if you’re Haruka’s “salvation” then I guess it really is great.

Mu: Salvation……? I don’t know what you mean. Futa-kun, you don’t sound like yourself. Did you hit your head or something? Oh, wait, you actually did, didn’t you. Ahaha. Ah, putting that aside though, did you know it’s my birthday today?

Q.02 What do you think of Haruka?

Futa: I can’t afford to be worrying about other people at the moment. Anyway, he’s not a little kid.

This is also why one of my first posts discussed them together. They were both even abandoned by their groups,

"Everyone else was having fun, weren't they? What about them?! Why is it just me?!"

Q.18 Do you regret anything?

Mu: I think maybe I should have chosen my friends a bit more carefully.

Q.11 Who do you want to see right now?

Mu: I miss my friends too. But most of all, Papa and Mama.

Yeah, don't be like either of them, actually.

This is not a healthy thing to strive for. The only difference between them is that Futa takes the orders, and Mu gives them. Aptly portrayed in the relationships they've formed over the course of Milgram.

Also, a bully is a bully regardless of if they cry about it. Women have been weaponizing crying for decades. Stop pretending like this is a brand new undiscovered form of manipulation it's not.

Addendum (September 23, 2024 5:03pm ) continued: Also it was not intent to specifically call to attention Mu's characters flaws or take any digs at people who relate to her. Saying things like don't be like x character can be inconsiderate towards individuals who relate to that character a lot especially if it's something done on a consistent enough basis.

These are once again my feelings on that in meme format.

[dramionestills]

Dramione month days 17-21

The Hunger Games/Pride and Prejudice/Hogwarts a History/Twilight/Hermione’s Birthday/and Free

“Open your eyes.” He whispered in her ear

She removed her hands from her face and blinked. She couldn’t hold in her gasp of delight at the sight before her.

They had moved in together a few months ago and to say it had been chaotic was an understatement.

There were still boxes of unpacked stuff all over the cottage they had bought together, as work and other events had not allowed them the time and energy to fully settle in.

Hermione had worried, and still did to some extent, that moving to a smaller place than the Manor would be difficult for Draco. Not only was the space so different but also she worried about how much he was straying from traditions for her and whether that may put a strain on their relationship. But Draco could not be happier to leave the bad memories and restrictive expectations that the Manor represented behind and start a new chapter with the love of his life.

So, while Hermione had been too busy the past month with a new piece of werewolf legislation that demanded she put longer hours than usual, Draco had been coming to the cottage during the work day (with permission and even help from his boss, Head Auror Harry Potter) to set up one single room.

On the west side of the cottage, there was a room that had initially been too small to be anything but storage. Obtaining the extension charm permit had been an annoying process but well worth it, as was adding a bay window to the wall that now let the most beautiful sunsets play out. He had installed handmade cedar bookshelves on most of the available wall space, including below the window seat.

And he had organized all of their books alphabetically by author’s last name, which was their (Hermione’s, but he went with it) preferred method, combining their collections in a perfect mirror of how their lives were now intertwined. Hermione’s collection of rare Jane Austen books displayed beautifully with Pride and Prejudice (her favorite) front and center next to the first edition of Hogwarts a History that Draco had also procured from the Manor. He had brought in several that were too valuable and useful to leave behind. He had even gone to a muggle bookstore and bought some new titles for them to enjoy together once they had more time. They had recommended a few series, including The Hunger Games and Twilight, and he couldn’t wait to discuss them with his beloved while drinking the perfect cuppa.

He had chosen (with help from Ginny and Pansy) a warm color scheme and furniture that looked perfectly cozy and inviting, with luxurious velvet cushions on two large armchairs, some fluffy alpaca and cashmere throws and an ornate walnut coffee table already equipped with aromatic candles and coasters and tissues and a carafe.

It was the library of her dreams and Draco had made it a reality.

She turned to him after taking it all in, adoring the way the golden hour glow fell on not only the room but his alabaster skin and blond hair.

“Draco, this is…” she was starting to tear up, overwhelmed by emotion. “It’s perfect! When? How?”

“Happy birthday, my love” He replied, “I wanted to surprise you with something useful, especially now that the werewolf bill has passed and you will have so much more free time to enjoy your books”

He had walked closer to her and was now wrapping his arms around her waist, leaning his forehead to hers. “We can also do research here, and hopefully we can make good use of that window seat” he smirked slightly.

Hermione let out a watery chuckle. “I love it, so so much. No one has ever done anything this thoughtful for me before”

“You deserve it.”

“And I do think I’ll make good use of it for the next few months before my next project, because that will take up so much of my time.”

“You already got a new project deadline? I thought Kingsley was going to let you have a bit of a break after this one. When do you start?”

“Well,” she looked up mischievously at him. “There will be a preparatory period and then the real thing begins in, oh, approximately 7 months.”

“Huh, oddly specific amount of time but at least you do get quite a bit of time beforehand. And as I said, this library is yours to use as you please; you could use it to complete some of the work here if necessary.”

“I guess we could add a cot between the armchairs…”

“A cot? What? Wait. wait.” She could see him finally catching on and seeing the smile grow on his face as he realized it was the best birthday gift she could have gotten.

[bananabreadcaramel-4]

Disclaimer: this isn't a jab at Tonny and I do understand that he is a complex character that is neither entirely evil nor good.

!!Might contain minor spoilers to episode 57!!

Anyways, I believe the author of Marionetta to be very intentional with what she illustrates and how she portrays her characters, including their actions. With that in mind, there must have been more to that part where Sahed was contained in a cage for two months. There have been plenty of discussions revolving around that and why Tonny would do something like that, given Sahed's history. While his excuse was that Sahed was dangerous and that he wasn't sure what to do with him, I think the author is giving us early signs or red flags.

Regarding that, I'll share two potential reasons:

He might be covertly racist, but at a very subconscious level.

So far, we have seen the overt racism of the citizens, soldiers and how Julia was at the beginning. Then the covert form which was Dottys comments. While Tonny isn't necessarily like the two given examples, he might have some lingering biases which can be shown in his interactions with Sahed, and his biases might be so subconscious that he doesn't notice them. Someone like Tonny might have been marinating in a lot of negative narratives about the ah'kon and it can be difficult to get it completely out of your system or notice the subtle differences in treatment and attitude towards them compared to Kalgratti people. Why wont he treat Rainah like that then? Typically, men of colour are seen as more aggressive, hypersexual and violent, and perhaps Tonny, and some of the other circus members (I'm looking at you Dotty) feel like he needs to be tamed and contained- like an animal or a beast. And perhaps those sentiments are also further fueled by something Sahed did in the past that might have made his relationship with Tonny rocky.

2. He might feel threatened or have an inferiority complex.

During the confrontation of episode 9, Tonny emphasized that he was the leader and that only he could decide who could enter or leave the circus. Then Sahed threatened that his position could be taken. Tonny doesn't feel like he is in control of his life, is under a lot of pressure and may, as a result, lead the circus carefully, in fear of everything he built crumbling. Someone like Sahed or Julia might threaten his control and, again, he might try to contain them.

Regarding inferiority complex, he probably doesn't feel adequate as a leader. He might have made a lot of promises to Sahed in the past which weren't met, or maybe he even got involved with Steinheimer. Now Saheds resentment and presence might be a constant reminder that he isn't that great of a leader. This could make him resent Sahed back as a result and thus his actions.

This is a minor and not well thought out idea lacking backing, but what if he also feels slightly inferior as a man??? Kalgratt being a patriarchal society, they probably have standards for what an "ideal man" should be like, similar to episode 59. While Tonny and the circus members do a good job at dismantling gender norms within the circus, perhaps Tonny has some lingering ingrained beliefs about masculinity that are also subconscious. Take for example, both him and Sahed are pining after Julia, and perhaps he feels like he isn't "manly" enough, since he is shy and isn't bold or aggressive in his pursuit. Take episode 57 as an example when he tries to use the "Saheds grab technique". Maybe it clicked for him (in episode 49 maybe?) that Julia is interested in Sahed. Though I don't think this is some kind of "team Jacob vs team Edward" setting where they are both competing for Julia.

What a long post. I've got some other theories and head canons that aren't relevant to this topic and will probably make other posts about.

[deityofhearts]

crystal tell me everything about the one of your ocs thats been on your mind most recently. which one are you rotating in your mind like a rotisserie chicken tell me everything about them

YwY I have several rotating in my kind like a ferris wheel but like, unfortunately an accident happened an it’s now spinning out of control (help)

[carlyraejepsans]

for real WHERE does the idea that [utdr humans] are nongendered so that "you can project on them" come from. their literal character arcs are about NOT being a blank slate to be filled in by the audience

i think i understand the assumption on some level for undertale, because there is a very intentional effort to make you identify with the "player character" in order to make your choices feel like your own (the beating heart of undertale's metanarrative lies in giving you an alternative path to violence against its enemies after all, and whether you're still willing to persue it for your own selfish reasons. YOUR agency is crucial).

of course, the cardinal plot twist of the main ending sweeps the rug from under your feet on that in every way, and frisk's individuality becomes, in turn, a tool to further UT's OTHER main theme: completionism as a form of diegetic violence within the story. replaying the game would steal frisk's life and happy ending from them for our own perverse sentimentality, emotionally forcing our hand away from the reset button.

i think their neutrality absolutely aids in that immersion. but also, there's this weird attitude by (mostly) cis fans where it being functional within the story makes it... somehow "editable" and "up to the player" as well? which is gross and shows their ass on how they approach gender neutrality in general lol.

but also like. there's plenty of neutral, non PCharacters in undertale and deltarune. even when undertale was just an earthbound fangame and the player immersion metanarrative was completely absent, toby still described frisk as a "young, androgynous person". sometimes characters are just neutral by design. it's not that hard to understand lol.

anyone who makes this argument for kris deltarune is braindead. nothing else to say about it.

[rearranging-deck-chairs]

Hi hello I watched all of carmilla in a weekend when I was 17 because a student teacher who in retrospect I had a bit of a crush on mentioned that she knew one of the actresses. also I am pretty invested in all your recent vampire stuff because I watched iwtv in 2 days last week because your edit intrigued me

oh hiiii 🫶 thank you for indulging me. thats so cool that you watched iwtv! did it live up to the expectation?

i also watched carmilla at 17! or like, 17-19. i found it when s2 had just started and followed it to the end. did something permanent to my brain but i think it was a good thing. on rewatch now im like, i was right to like this. like it's a solid show, it's good. it has its flaws obviously but it's well written, the emotional moments still get me, i can see why i liked it and i still like it now even when it's not anymore, you know, meeting every need that baby gay me didnt even know they had

what it doesnt reaallyy do though - i dont remember if i posted abt this or if i left it in my drafts but - is explore vampirism as a concept. their subject matter is more lesbianism than vampirism. which is great! thats what they wanted to do and they did it and it's very good. but reading interview with the vampire the book rn im realising how much potential vampires have to be metaphors for like so many things and i started wondering like 'wait, did carmilla just not really engage with it or did it all go over my head'. but it just didnt really engage with it all that much. which again is fine bc that wasnt what they were doing. im glad they were more about the lesbianism than the vampirism

but there's this interesting difference in framing, because in iwtv they keep calling armand 'ancient' right? and emphasising how old he is. and he's like 500? and i was like 'wait isnt carmilla like 400?'. she isnt, shes 340, but still, thats getting there, you know? and we know quite a lot about her history, but kind of just the Big Events. when she was turned, the events of the novella, coffin of blood, silas. thats sort of what we know. but none of the long lonely slog of history day to day you know? with armand i feel like we can really feel how much time everything takes. how every one of those years is made up of single days. with carmilla i dont feel that as much. i keep kind of thinking about daniel, when louis calls him a boy in the first episode, saying "im an old man, with all the triggers that come with it"

because carmilla might look 18 (or mid twenties at this point) but she has lived all that time. shes also seen her native land be claimed by like a succession of ruling powers, right? like armand. shes been buried alive, like louis. when lestat is born, shes already 80 years old, shes lived a whole human lifetime, and the entire adult part of it shes been a vampire. shes lived through 1680-1870 being a lure. i compared her to abigail hobbs in some tags on a post, i dont know if youre familiar with hannibal the tv show, but i do also kinda keep thinking about that comparison

if youre not familiar, in the first episode of hannibal the murderer of the week is this guy garrett jacob hobbs who kills and cannibalises girls who resemble his daughter. and later on it turns out she was made to be his lure. like they'd go places and he'd sent her to the victims to make friends and maybe get them back to their home or smth. not sure if they specified all the details. but that's what carmilla did for mother. and in s2 we hear from mattie that while every couple of decades carmilla had to lure victims for the fish god, she also seemed to just enjoy humans between those times, right? like the doctor, gets lonely, gets a new companion. but we've only sort of got mattie's mocking word for it ("dont eat him, hes a poet! or her, shes got such a wonderful voice. or that one, shes just too pretty to ruin"), we don't know exactly from carmilla's point of view what she was doing or why. if mattie's talking about stuff that happened after the blood coffin, 1950-now, then i think it's a fair assumption based on what carmilla says in the s1 sock puppet show that after she'd figured out what the real situation was and what her role in it was, when she'd started trying to save girls from being sacrificed, that she mightve been doing the same trying to save people from becoming mattie's victims. it's probably more likely that she was just trying to find excuses to stop mattie from sucking someone dry rather than actually having like an aesthetic based morality. but it might be a bit of both. im still trying to figure out what her philosophy actually is, like i dont know what existentialism actually means ghkfjghkj but i will

i also found it pretty striking in the movie when shes turning back into a vampire she says like "this was supposed to be done, you know? the blood lust, the self-loathing, the sleeping tied to a chair in my own bedroom". thats what defines her vampirism, wanting blood and hating yourself for it (the third part is a joke/reference to s1 but also i think meaningful for how she sees her relationship with laura when she IS a vampire. little bit of that 'she will reject me for my monstrousness' shining through). and thats what defines vampirism for lots of vampires across the genre obviously, but i dont know, it struck me. we dont get a lot from carmilla's pov, we know a fair amount about her, but the story is always told through laura. we get laura's diaries, but just snippets here and there from carmilla, what shes thinking, how shes feeling

and i love that shes a philosopher. i love that thats how she seems to try and find something to hold onto, in a world that kind of moves around her, having been murdered, kidnapped, turned and groomed to be a lure on the cusp of adulthood, never having been properly loved (the relationship with her father wasnt good she says in s3, and her mortal mother i dont think has ever been mentioned (like laura's)). the only good relationship she seems to have had for the better part of 3 centuries seems to have been mattie, and mattie seems to love being a vampire. i can imagine carmilla just sort of going along with anything mattie wants to do just because shes so desperate for that friendship. not like, against her will necessarily really. but more like, she hasnt even had the space to develop her own will, you know? and philosophy lets you do that. philosophy gives you frameworks to understand the world and to develop your own opinions on it. and by the 21st century she seems to have developed those opinions, she has a sense of her own values, but shes also still stuck in that same situation. shes jaded and cynical in the face of laura's optimism and strong moral code a lot of the time in s1 because she feels probably pretty powerless. like she does what she can to save some girls but at the end of the day shes scared of her mother and she has nowhere else to go really, right?

i like how she grapples with that over the course of the series, in tandem with laura grappling with her black and white morality. she sort of jumps ship from her mother to laura bc theyve fallen in love, but then laura still stuck in her hero thinking refuses to see her monstrous side. not literally bc i think the biological vampirism never seemed to be a problem for laura, but morally. the having murdered. carmilla needs laura to see that and love her while seeing it bc the last girl she loved rejected her for being a vampire.

but you see her kind of swing back and forth in s2. she softens first with laura but then they break up and she leans back hard into the sarcastic cynic defense mechanisms, leans hard into "im a monster, dont expect heroism from me". but thats like, it's sort of learned helplessness i think. it's powerlessness, resignation. bc morally shes not a monster. maybe she doesnt have as strong a drive to help other people as laura does and is a little more selfishly hedonistic in that she just wants to enjoy her/their life, but she doesnt hurt people for fun, she never has. she just sort of didnt have another option for a Really long time. so she pretends she doesnt care. "im a vampire, this is what i do, this is who i am". but clearly from the way she talks about it when she turns back into one, she doesnt enjoy it

and i like how she goes even further in s3, where she starts swinging even more to the heroic side, bc she sees hope. shes like "wow if we kill my mother, i'd be free". theres hope and she becomes like a lot more active. and shes like that at the start of the movie too, a lot happier, a lot more relaxed, and then vampirism is back and bam depression gfhgkjh like shes immediately more gloomy, ashamed of her past and her self, retreats into herself

sorry i just took this as an opportunity to dump all the carmilla thoughts floating in my head on you. you didnt ask fhkghgjh consider this an open invitation to you or anyone else to come talk to me about carmilla

[toytulini]

me, stupidly and weirdly resistant to listening to audio books vs reading a physical book for no real reason: man i wish there was a way to like, read a book while i crochet like i do with tv shows and movies and podcasts

[compacflt]

I just wanted to say as someone who has stumbled across your blog and has read your Wednesday wips and posts about anything topgun related that your thought process and consideration of mav and ice, specifically their political beliefs and relationships with their own identities, is honestly so impressive and cool. You have brought such realism and life to these characters which is just so refreshing to see. idk i just wanted to express how cool and awesome i think that is

Because of the thought into these characters does it make it difficult to like them or understand them if you have differing opinions from them? for me personally i feel like if i were to ever actually have a convo with ice or mav regarding identity politics i would actually start to lose my mind (like how one feels when your dad or fun uncle talks for too long at thanksgiving dinner). If it does make them difficult to like, does that make it difficult for you to write them sometimes?

oh yeah! i think, my ice i really empathize with & really love & really could get along with, once he grows out of the sexism of his teens & twenties, but my maverick drives me crazy. someone sent in an ask a while ago that was like “WHY is cyclone simpson your one true love??” And it’s because i too would absolutely hate maverick & hate working with him lol. people who are overly cocky & un-self-aware & a bit self-centered make me CRAZY. (narrator voice: compacflt is a hypocrite as all these things also apply to compacflt.)

Politically… It’s difficult to say. no one really wants to hear the intricacies of one person’s political journey, which is why i won’t give you mine, but suffice to say—since the start of the russian invasion of Ukraine, and my semi-concerted effort to learn more about the political landscape of modern warfare, my own personal beliefs have shifted a whole bunch. definitely aided in that shift by my top gun fic project that specifically aims to understand the conservative straight-passing male mindset as it relates to military matters… there are many end goals to a project like mine, but one end product is a filter you can take away and hold up in front of your eyes and see the world through it. When writing from the eyes of a conservative straight (passing) white man, your priorities totally shift. I had to write from the perspective of someone who doesn’t care about identity politics. Because they don’t! A core tenet of conservatism is very proudly not caring about that stuff, and being very annoyed when people (usually left-of-centers) make that stuff very visible and want you to care about it! “Don’t shove it in my face,” etc., etc. Don’t force me to care about this taboo, private thing I really don’t care about. It violates my freedoms, or whatever, to be forced to care—or even bear witness to—stuff that i don’t care about. Etc. And then, to be nominally a part of that community that you really, really don’t care about, and then to be told that you have to care about it because of your publicity… people asking you to be proud of something that has had a negative connotation for much of your entire life… that’s not a transformation that happens easily.

Jesus, I could write an essay about this. I have, several times by now in responses to asks over my blog. But there is so much that I could talk about. I think… I really worry that some of my writing falls into the first of the below categories:

I really try not to romanticize conservatism in my writing—I tried to show that ice and mav’s happiness is the price they pay for their conservatism. They’re actively choosing to be unhappy—but because they prioritize their honor over everything, due to EXTERNAL PRESSURES they cannot control, and which I think are often ignored in the fandom space for one reason or another. The fact of the matter is, in 99% of IPs, characters prioritize something other than their sexualities. It’s never Maverick’s personal identity that is at stake in either Top Gun or Top Gun: Maverick, because he has built himself so impermeably masculine that there are no grounds upon which to question his personal identity. He just isn’t thinking about it. He’s thinking about how to get into Charlie’s pants, how to win the Top Gun trophy, how to uphold his promise to Goose, et cetera. If he’s fucking guys on the side, it’s because he wants to and because hes maverick and he does what he wants without thinking about it—that’s the whole point of his character, from a story-construction standpoint. That’s his archetype. He’s a renegade maverick superstar who is both thoughtlessly brilliant and thoughtlessly dangerous. He’s thoughtless. His priorities are to survive and to look cool doing it, and that’s it. He is a savant in the Naval Air Force, where honor is your lifeblood, who feels he has been dishonored by his own family name, and who willingly joined the conservative post-Vietnam Navy right when/after Ronald Reagan was elected President, and who wears cowboy boots and who disrespects women to their faces, and who is eager to get into altercations with Soviet-Chinese-DPRK-X-second-world-country-coded-but-EXPLICITLY-Soviet-manufactured-Mikoyan-Gurevich-MiG-28s(-F-5s-painted-black)… I’m sorry. In my opinion, the conservatism is baked into him as a character. I find it extremely difficult to separate him from his conservatism, because in some ways his patriotic conservatism is his raison d’etre. IMO if you take that away from him, he ceases to exist.

Same thing with Ice and his unwillingness to openly rebel or go against the grain. That is his whole reason to exist in the story at all. I know that I’m saying this in a fandom space where the whole point is to change characters & put them in different situations (fanfic) but… in kind of a perverse self aware way, as in I know I sound ridiculous and pretentious, i guess i don’t really understand an impulse to change the core tenets of a character irreparably in fanworks. We are shown that ice always goes by the books in TG. Then we are shown that he achieves the fruits of that labor (four stars) in TGM. So he is rewarded for never rebelling, whereas Maverick, who always rebels (but NEVER in a way that challenges his personal identity), has stagnated in the ranks at full-bird O-6. And that’s Ice’s character. That’s what he’s there for in the story—he’s a tool to show us the value system of rank and prestige you earn by following the rules of the Navy. Why take that away from him? That’s his priority! Canonically, that’s his priority and reason for existence! And historically the way to achieve that priority is through conservatism.

And you ask me if it’s hard to like my ice and mav. Yes, but that’s not my choice. The movie already did that for me. They are not, I’m sorry, likable people. I am not a straight white conservative male writing about straight white conservative men to validate my own beliefs—I’m a queer AFAB person of color writing about straight white conservative men because I want to understand the limits of their conservatism. What they do and do not care about, and what it takes to make them care. And from what we are shown in TG… ice and mav would not care about ME. At all. And they would not want to be forced to care about me. Ice’s casual careless dismissiveness… “the plaque for the alternates is down in the ladies’ room…” mav following Charlie into the bathroom… turning the key in the ignition and driving away while pretending not to hear her… “what?? i can’t hear you! 🙉” … they do not care. They have no desire to care.

Again. Maybe I subscribe to a very very old-school and labored and pretentious ideology when it comes to writing… I know a lot of people write just to have fun. I do not. I wish i could, but I don’t. And when you’re not writing to have fun, you don’t have to like the characters you’re writing about. They’re nothing more than tools at your disposal to get your point across more effectively. No, I don’t like them! Of course not! My ice is cruel and cowardly and careless and hypocritical and subservient and weak, and my mav is demanding and dangerous and dismissive and oblivious and so, so, so unbelievably bitter.

And that’s what my story needed, to get my point across. So, shrug. My point was my priority. I don’t care too much about the characters themselves.

Re: icemav & identity politics. Part of hopefully selling this story is the attempt at empathy for the conservative male, to bring this discussion back to the top. Why write fiction at all if you’re not going to write about people different from you, and why write about people different from you if you don’t want to understand them? So… part of trying to understand them was to understand and have empathy for this shift in priorities. Conservative guys do not want to care about labels, or sexual orientations, or, God forbid, discussion of their gender identities. I can kind of see Ice tolerating it by the end… but, there are limits. Again, it’s supposed to be private. I think he’d chafe against getting labeled gay—he wouldn’t want to be called the first gay compacflt, or SECNAV, etc. He can’t say, “i slept with like a hundred fifty women before I even MET the ONLY man ive ever slept with,” because that’s like intensely private personal information!! No one deserves that information, but people still want to call him gay, even though in his head he really is not!!!! Again—from the conservative perspective, it’s a public imposition of left-wing, overly sexualized, too-neat labels and politics onto an area of life that has typically been kept private and respectable—I don’t agree with the conservatism, but I can at least empathize with it. Pre-Maverick’s death (pre-coming to terms with it), it would’ve been shameful & embarrassing to him; but even after coming to terms with it, it’s still not something he “takes pride” in. I think he thinks of it like this—most people aren’t proud of being straight. Like, it’s weird if you are. Same thing with being proud of being white, etc. Why be excessively proud of things you have no control over? Why not take pride in your ACTIONS—for instance, his career that he has actively sacrificed so much of his pride for? I can really empathize with that thought. I don’t necessarily agree, but I get it, especially in his professional circumstances, where he has so much to be professionally proud of, and yet people keep wanting him to publicly care about this private part of him he has no control over and can’t change.

Maverick though. I think he’d be actively hostile about talking about it in public. He Does Not Care. he does not want to care. It’s all an insult. They call him the first openly gay Ace cause he’s married to another man— “okay, but, like, I’m not. Stop calling me that. Neither of us are. Oh my god we have slept with so many women. Stop calling us that.” Ok then what do you want us, the press corps, to call you? First openly bisexual Ace? “No that’s worse!! That’s a word some teenager made up and doesn’t mean anything!! I’m sixty years old stop asking me to talk about this stuff im too old.” What do you have to say to LGBT kids who want to go into the navy? “😎👍 there’s a place for you etc etc. Let’s go back to talking about all the planes I shot down.” Maverick does what he wants without thinking about it. That’s the core tenet of his character. Very conservative. Don’t ask him to care too much.

Idk. No I don’t like them. But I understand them, if that makes sense. Like their conservative anti-label logic does make emotional sense to me. So that’s part of what I took away from this project, for better or worse… probably worse: I understand why conservatives don’t like the modern over-publicity of sexuality. They don’t care and they don’t want to care. And because they are small-C conservative, my ice and mav still don’t care lol. So, yeah. It doesn’t make them hard to write, because thats why I wanted to write them in the first place.

[bisexualamy]

.

[freakwiththeknifecollection]

Years of reading and writing disapproving parent fic have come back to haunt me, as I'M now the one committing faux pas in front of my partner's uptight parents 🫠✌️

[dallonwrites]

beau is sooo messy i'm obsessed with him. him being happy to see felix seemingly flourishing and being more confident etc but also feeling weird and almost jealous at the fact that it used to be just him that got to see felix that way. that he used to be the only reason for it. and like he KNOWS that's a messy and kind of fucked up way to think about it but he also knows he's in a really weird spot emotionally and can't help it