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saintsenara · 8 months ago

Note

Riddle’s extremely fearful and aggressive reaction to Dumbledore when he thinks he’s a doctor (and the fact that he assumes this at all and believes he is being lied to) has some pretty dark implications (which of course no one follows up on). Do you have thoughts?

thank you very much for the ask, anon!

and yes - this has occurred to me too... which means that my thoughts come with a trigger warning for the sexual abuse of a child, and are under the cut.

the relevant scene in canon is, of course, this:

“I am Professor Dumbledore.” “Professor?” repeated Riddle. He looked wary. “Is that like doctor? What are you here for? Did she get you in to have a look at me?” He was pointing at the door through which Mrs. Cole had just left. “No, no,” said Dumbledore, smiling. “I don’t believe you,” said Riddle. “She wants me looked at, doesn’t she? Tell the truth!” He spoke the last three words with a ringing force that was almost shocking. It was a command, and it sounded as though he had given it many times before. His eyes had widened and he was glaring at Dumbledore, who made no response except to continue smiling pleasantly. After a few seconds Riddle stopped glaring, though he looked, if anything, warier still. “Who are you?” “I have told you. My name is Professor Dumbledore and I work at a school called Hogwarts. I have come to offer you a place at my school - your new school, if you would like to come.” Riddle’s reaction to this was most surprising. He leapt from the bed and backed away from Dumbledore, looking furious. “You can’t kid me! The asylum, that’s where you’re from, isn’t it? ‘Professor,’ yes, of course - well, I’m not going, see? That old cat’s the one who should be in the asylum. I never did anything to little Amy Benson or Dennis Bishop, and you can ask them, they’ll tell you!”

the surface-level reading of this scene - which is clearly what the text wants us to go for - is that riddle thinks he's about to be institutionalised for being "mad" - and, specifically, that he thinks that what dumbledore has been told is his "madness" is actually his magic.

[he is also clearly meant to be read as panicking a little bit that he's fucked around torturing his fellow children and is now about to find out...]

that riddle accepts he's a wizard so easily - and that he is so reassured by dumbledore agreeing that he's not mad - is something the text wants us to read as sinister. him immediately describing himself as "special" is set up as a precursor to the adult voldemort's delusions of grandeur - which the entire arc of the series, ending in his death as an ordinary man, is designed to undermine.

but i've always disliked this reading. the eleven-year-old riddle - a magical child raised around non-magical people - is objectively correct to describe his powers as "special" [in that they make him identifiably different from the crowd] within the context in which he lives. the word choice is nowhere near as deep as dumbledore decides - he's clearly known since he was very young that he's a wizard, but he didn't have the precise language to describe this fundamental part of himself until dumbledore offered it; prior to that, "special" is a perfectly reasonable alternative term.

and, in always knowing that he's a wizard, he also knows that he doesn't have a mental illness - but he must also know that this is something it's near impossible for him to prove.

in the real world, if i spoke to a patient who told me:

“I can make things move without touching them. I can make animals do what I want them to do, without training them. I can make bad things happen to people who annoy me. I can make them hurt if I want to.”

then i would be correct to describe them as experiencing psychosis. and i might - depending on their other symptoms - have reasonable cause to admit them [voluntarily or not] for psychiatric treatment.

riddle is - of course - demonstrably not psychotic. but it's not unreasonable that mrs cole would assume he is - the world she lives in, as a muggle [even if she's a religious one], is one in which people do not possess the ability to move objects or control animals with their minds, and if one of her charges is convinced that he can, then she's justified in seeking medical intervention.

[that psychiatric treatment in the 1930s can be described without exaggeration as inhumane is another matter...]

which is to say, i think we can easily suppose that mrs cole has - prior to dumbledore's arrival - succeeded in having riddle "looked at", and that the idea that he's mentally ill and should be committed to an asylum has been mentioned before. i think most of us would be instinctively [and angrily] wary of doctors if this happened to us, regardless of how nice the doctors in question were.

and maybe that's all there is to it.

and maybe it isn't...

in the doylist text, the eleven-year-old riddle's personality is the way it is because he's the villain of the series. where harry is preternaturally capable, even as a child, of all the things the series defines as admirable - above all, enduring difficulty without complaint - riddle is preternaturally incapable of them. he's meant to come across as unambiguously sinister - and the fact that the text repeatedly emphasises that he has control over his unpleasant traits invites us to view him as someone who is acting with full agency. that he lives in an orphanage is a trope which the text uses, like a campy horror film might, predominately to underscore how creepy he is - and the text, in keeping with its general lack of interest in states and their institutions, never really prompts us to interrogate the impact of his childhood upon the course his life takes.

[this is despite the fact that voldemort's reliving of the night he killed the potters in deathly hallows is an incredibly accurate depiction of ptsd...]

but it's also the case that the eleven-year-old riddle's behaviour and personality fits a pattern we might expect to see in a child who is being abused, sexually or otherwise:

he's aggressive, he has a hair-trigger temper, and he becomes distressed even by behaviour - such as dumbledore speaking mildly and calmly - which would not ordinarily be expected to provoke such a reaction.

his broader emotional state is fractious. his mood changes sharply, he seems to feel emotions very profoundly, he struggles to control his emotional response to things, he's extremely easily irritated, he's attention-seeking - and he particularly seeks negative attention, and he's very highly-strung. his admission in deathly hallows that he feels calm before he kills - or before he otherwise eradicates a threat or a problem - comes with the flip-side that he's someone who appears, when things aren't going well or he finds himself in a situation which he can't control, to become quite anxious. which is a trauma response.

he's extremely isolated. the text presents the fact that he has no friends as a deliberate choice - "lord voldemort has never had a friend, nor do i believe that he has ever wanted one" - and his relationship with everyone else he ever meets, including his fellow orphans, is defined by the text as exclusively involving him controlling, manipulating, and punishing them. or: he is always the more powerful person in the pairing. but this need for control can be read as self-protective just as easily as it can be read as sinister. there are hints in canon that riddle is not just some malevolent force in the orphanage preying on mild-mannered innocents. for example, billy stubbs, the owner of the rabbit he kills, is targeted by riddle as revenge: “Billy Stubbs’s rabbit... well, Tom said he didn’t do it and I don’t see how he could have done, but even so, it didn’t hang itself from the rafters, did it? [...] But I’m jiggered if I know how he got up there to do it. All I know is he and Billy had argued the day before." on the rare occasions billy turns up in fics, he's usually - i find - written very like neville - sweet and guileless and a bit pathetic. but the alternative reading - especially when we take into account that riddle attacks the rabbit rather than billy himself - is that billy is someone he would be afraid to physically confront. indeed, it's striking that voldemort - at all stages of his life - is described as being quite physically fragile. not only is he very thin, but he's always cold and his heartbeat is described several times in canon as irregular. i think this is supposed to be a comment on the physical changes he undergoes the more horcruxes he makes - although the idea that the soul would affect the heart doesn't actually align with how the series understands the soul to relate to the body - but it can also be interpreted perfectly legitimately as something he was experiencing prior to splitting his soul. i am committed to the headcanon that riddle was quite a sickly child - and that this is one of the things which drives his fear of death - and i'm also committed to the idea that his obsession with magic is because the enormity of his magical power makes up for his physical lack. he can defeat - and humiliate and frighten and remove the threat of - billy or dennis [or even an adult man?] with magic. without it, if they were to physically overpower him, then he wouldn't be able to throw them off.

he is extremely nervous about being alone in a room with dumbledore - someone he doesn't know, and who he assumes is connected to a profession [and, maybe, who knows any other doctors he's been previously made to see...] of which he is frightened.

he doesn't trust or confide in anyone - which, as a child, means particularly that he doesn't trust or confide in adults in positions of responsibility. he's clearly uneasy with the idea of finding himself in the subordinate position in an adult-child relationship when dumbledore offers to take him shopping for school supplies - potentially because he's worried that dumbledore will try and dictate or restrict what he's allowed to buy unless he behaves in a certain way... and i am always very struck that dumbledore says in half-blood prince: "He was very guarded with me; he felt, I am sure, that in the thrill of discovering his true identity he had told me a little too much. He was careful never to reveal as much again." this is presented in the text as evidence that dumbledore is the only person of whom voldemort is afraid - by which the text means that voldemort acknowledges that dumbledore knows that an ordinary man, mortal and unimpressive, lurks behind the mask of unassailable power he has created for himself; and which the text thinks is a good thing. but we can also read it as a self-protective act on riddle's part. in his excitement, he offers dumbledore information [that he is known to be a liar, that he is in trouble a lot, that mrs cole dislikes him and is disinclined to believe anything he says] which would give dumbledore - or anyone in a similar position of power and presumed respectability - cover to abuse him, safe in the knowledge that he would be unlikely to be believed if he reported it.

he doesn't appear to feel safe in the orphanage and he's frequently absent from it - by his own admission, he spends a huge amount of time wandering around london on his own, which may even involve him staying away for several days at a time. nobody appears to notice or care about this.

he's very independent - which the text again presents as evidence of his deliberate self-isolation and rejection of the bonds of love and friendship - and his independence is unusual for a child his age [i.e. that he is capable of doing all his own shopping for school].

his knowledge of violence - i.e. how he designs the trip to the cave to be maximally psychologically devastating for dennis and amy and devoid of repercussions for himself - is also more advanced and methodical than would be expected in a child of his age. again, the text uses this to emphasise how inextricable the child-voldemort is from his adult self - and also, to some extent, to underscore the intellectual brilliance [his magic is also more advanced than is normal for a child] which his narrative archetype [the exceptional villain who is defeated by the everyman hero] requires. but we can also read it as evidence of his own victimisation. a common sign that a child is being sexually abused is that they display a knowledge of sexual behaviour which is more advanced than is reasonable for a child of their age - for example, knowing in detail how a sex act is performed, or fluently using sexual slang which they have no chance of knowing either from age-appropriate settings like school-based sex education or conversations with a parent or trusted adult, or from the sort of enthusiastic hoarding of rude words and phrases all children enjoy as they grow up. riddle's precise, clinical knowledge of how to manipulate, frighten, torture, and control can be seen as something similar. if he can - at eleven or younger - methodically break down another child until they're "never quite right" again, then this is because he's learned how to from someone.

he keeps secrets. and he also goes out of his way to extract them. his grooming of ginny in chamber of secrets - he manipulates her into confiding things she wants to keep to herself, promises he won't tell anyone, and then uses the threat that he will to get her to do his bidding - is an absolutely textbook example of how abusers use the idea of secrecy to control their victims. it doesn't make his abuse of ginny any less inexcusable if we assume he learns this from being on the other side of things.

dumbledore understands his little cache of objects as trophies he's taken from victims - and the text takes the view that dumbledore is correct in this assessment. that hoarding trophies is something widely associated with serial killers means that this is yet another thing which underlines how creepy - and how like his adult self - the child-voldemort is. but it's also the case that the adult - and teenage - voldemort places a lot of emphasis on gift-giving as part of his control over other people. the two most obvious examples in canon are wormtail being given his shiny hand as a reward for helping voldemort get his body back, and slughorn being buttered up with crystallised pineapple before voldemort asks him about horcruxes. the text thinks this is sinister - and one of the reasons it does this is because gift-giving is a grooming tactic. the text also clearly thinks this isn't behaviour voldemort has learned from the other side. and yet a common sign that a child is being abused is if they have possessions it doesn't make sense for them to own [i.e. a child from a low-income background who is suddenly decked in designer clothes] and which they can't or won't explain how they came by. riddle's cache isn't luxurious - although he's so poor that a yoyo or a mouth organ probably is a luxury to him - but there's also nothing in canon which precludes the objects being presents, rather than stolen goods. if the spell dumbledore uses to make the box rattle is caused by a statement which is both relatively ambiguous and dependent on dumbledore's subjective personal morality - is there anything in this room he's acquired through nefarious means? - then the spell would still work as it does in canon if riddle was an abuse victim given the objects as "rewards". dumbledore's tendency to locate right and wrong in the individual and dumbledore's belief that good people should steadfastly endure misery means he can be written entirely canon-coherently as someone who would think a victim who appeared to collude in their own abuse - such as a victim who "offered" a sexual act because their abuser promised them something if they did - was behaving consensually, manipulatively, and nefariously. and it's worth noting that when riddle doesn't know what dumbledore has done to make the box rattle, he is "unnerved". when he realises dumbledore thinks he's stolen the objects - and that he has no interest in forcing him to admit this aloud - he is "unabashed". perhaps because he's just received proof that an experience he doesn't want to talk about is still secret...

on the other hand, the objects could indeed be stolen - because petty criminality and anti-social behaviour, especially in pre-teen children, is also a sign of abuse.

he can be extremely obsequious - when dumbledore tells him to watch how he speaks he becomes "unrecognisably polite", he ruthlessly flatters slughorn, and he is cringingly deferential to hepzibah smith. the text understands this as evidence that his apparent charm is only superficial - another trait associated in the popular imagination with serial killers [and it's striking that so much about the young voldemort - handsome, charming, seemingly quiet and polite, true evil lurking underneath the mask - is exactly like the pop-culture persona which has been created for ted bundy...]. voldemort himself agrees that his charm is performative in chamber of secrets: “If I say it myself, Harry, I’ve always been able to charm the people I needed. So Ginny poured out her soul to me, and her soul happened to be exactly what I wanted." but his obsequiousness is also a fawn response - a way of minimising a threat by attempting to please the person issuing it. he becomes "unrecognisably polite" - after all - in response to this: Dumbledore raised his eyebrows. “If, as I take it, you are accepting your place at Hogwarts - ” “Of course I am!” “Then you will address me as ‘Professor’ or ‘sir.’ ” Riddle’s expression hardened for the most fleeting moment before he said, in an unrecognisably polite voice, “I’m sorry, sir. I meant - please, Professor, could you show me - ?” riddle could reasonably interpret what dumbledore says here as a threat to prevent him attending hogwarts - even though dumbledore evidently doesn't mean it in this way - and he switches to being fawning because this is something he really doesn't want to happen...

do i think that any of this is what the text was actually going for? no. and nor do i think that reading riddle as a victim of abuse excuses the violence which the adult voldemort goes on to perpetuate.

but i think it is a reading of his characterisation which is both canon-plausible and interesting - a strange, sickly child with a reputation for cruelty and dishonesty being abused by the respectable doctor who is constantly called in to treat his coughs and wheezes, who buys him little presents and charms him into telling him secrets, who then [to paraphrase the teenage voldemort] feeds him a few secrets of his own, safe in the knowledge that nobody will ever believe him if he tries to get help.

and i also think this a reading which is sincerely important.

a significant contributor to the prevalence of child abuse - no matter what exact form this abuse takes - is that we are culturally conditioned to imagine that both the abuser and the victim will look and behave in a certain way if the abuse is "real".

and this means, all too often, that we take child abuse more seriously when the victim is "sympathetic" - when they're from a stable home, and their family are respectable, and they do well in school, and they're polite and sweet, and they look innocent, and they behave perfectly appropriately for their age, and nobody would ever dare to say that they come across as older than they are, and they're white, and they don't have a history of lying, and they don't have a history of attention-seeking, and they don't have a criminal record, and they're not abusive themselves, and there's absolutely no way of suggesting that they colluded in their abuse, and the perpetrator was someone who looks like a child abuser.

someone who is creepy, low-status, ugly, unpopular. someone who everyone can tell is socially abnormal, someone who nobody would ever intentionally permit to be around their children. not someone who is charming, well-respected, attractive, rich, popular, trustworthy. not someone who has a loving family and a happy home. not someone we might be friends with.

but many perpetrators of child abuse are these second group of people. and many victims of child abuse are "unsympathetic", when their social positions and reputations are compared to their abusers' own.

they lie. they steal. they're attention-seeking. they're vindictive. they have trouble distinguishing between imagination and reality. they're violent. they're bullies. they hurt animals. they abuse other children. they take drugs. they're mentally-ill. they come from broken homes. they're in the care of the state. they're dirty. they're poor. they're odd. they're behind at school and badly-behaved in the classroom. they do things which allow their abuse to be dismissed as something they brought upon themselves - they speak or dress in certain ways, they pose provocatively in pictures and post them on the internet, they are known to be sexually active outside of the context of their abuse, they lie about being over the age of consent, they engage in sexual behaviour with an adult abuser in a way which appears [even though it isn't, and there's never a circumstance in which it will be] to be consensual or for their own personal gain, they are flattered by the attention they receive from someone who is important or attractive grooming them, they have complicated - and not always wholly negative - feelings towards their abusers.

and they are still - unequivocally - victims, and what happens to them is still - unequivocally - abuse.

tom riddle is an unsympathetic victim - not only of any potential abuse, but also of the horrors of his life which are explicit on the canon page: that he is raised in an orphanage; that he is grieving; that he knows nothing about his family; that he is thought to be mad.

the absence of any institutional response to his childhood experiences - dumbledore, by his own admission, discloses nothing about riddle to his fellow teachers - is a flaw repeated again and again in the worldbuilding of the harry potter series.

hogwarts - and the wizarding [and muggle] state more broadly - doesn't intervene in any case of neglect or abuse, from harry to snape to voldemort's own parents. the series' individualistic morality means that we aren't supposed to interrogate these collective failings. and the series' black-and-white view of good and evil - and its general belief that violence is fine if the person it happens to "deserves" it - means that it has no interest in examining the ways that poverty, isolation, and neglect are risk factors; that straightforwardly unpleasant people can still be victims; that victims can go on to become perpetrators without their victimhood ceasing to matter; and that the abuse of children usually takes place not in silence and secrecy, concealed in ways which make it fine for adults not to notice it and not to intervene, but in plain sight.

this is knowledge it never hurts to refresh. thinking about lord voldemort's childhood might be an usual way of doing so... but it is an effective one nonetheless...

#asks answered #asenora meta #tom riddle #lord voldemort #if wizards had the concept of safeguarding it would be a game changer...

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cryingpariah · 2 months ago

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Thinking about Usopp and how he’s the only Strawhat that didn’t have someone looking after/looking out for him as a kid..

After Bachina passed he was literally all alone. We don’t see a single flashback of any adult in that village taking him in after he was literally orphaned or checking in on him, they just..left him all alone?? How did he afford food back then? He certainly couldn’t have a job. What happened if something broke in that suddenly way too big and empty house, was it expected for him to fix it himself? Did someone comfort him in his times of grief, when it was late at night and nightmares creeped into his mind??

When he goes around town, hollering about pirates coming, none of them take it as the obvious cry for help that it was. No they decided he’s annoying, that he’s a nuisance, that he deserves to be chased out of town every morning by an angry mob with pitchforks.

(And yes before anyone says it, I know it’s played in the anime for laughs or whatever but that doesn’t make it any less fucked up.)

In fact, we’ve seen Usopp being the caretaker for other people in that bitch ass village: the Usopp Pirates and Kaya, the former he was looking after WHEN HE WAS STILL A CHILD HIMSELF!!!

(And yes Kaya didn’t believe him about Kuro and slapped him I remember but she also apologized and pulled up with a glock so I forgive her personally.)

But Usopp never hates them, he doesn’t even consider it. Not when they chase him out of town everyday, not when they choose to believe a random man they’ve known for 3 years over him and tell him they might have believed him if he was more like Kuro bitch ass and then when the battle at the hill they were all waiting around with their torches and shit liek “where’s Usopp?? 🧐🧐 he’s usually here for us to run outta town by now??”

In conclusion Fuck Syrup Village (minus the Usopp pirates and Kaya obvs), Fuck Captain Kuro fake ass cat, and Especially FUCK YASSOP.

#contrary to all my Monkey D Family/Dragon posting Usopp is my actual favourite OP character #proud member of Usopp nation since his introduction #can you tell Syrup Village had me heated?? cause it did #Yassop No Last Name Given Are You Prepared To Die #One Piece #god usopp #Usopp #Yassop Slander #yassop

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yumeka-sxf · 8 months ago

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Japanese Linguistic Observations in Spy x Family - part 3

Part 3 - Yor's keigo

I discussed in part 1 about the different levels of speech in Japanese, particularly how Twilight changes his speech depending on the persona he's donning. He uses keigo, the standard polite form of speech, when he's acting as Loid Forger, but uses casual speech as Twilight. Yor, however, uses keigo all the time, to a degree that some would feel is excessive, but also makes sense for her character.

Keigo is the most basic form of polite speech in Japanese. It's the speech that's taught in pretty much every beginner Japanese learning course because it's the "safest" for most situations. Without getting too technical, it basically involves using the polite conjugations of verbs. All verbs in Japanese have a "polite" conjugation form that's used in keigo. For example, the verb "to go," 行く (iku), will change to 行きます (ikimasu): change the く(ku) to き (ki) and add -ます (-masu). -masu itself is then conjugated further to show past tense, negative tense, etc. Likewise, one would use です (desu) as the "to be" verb instead of its casual equivalent だ (da). For example, saying 車です (kuruma desu), which means "there is a car" instead of 車だ (kuruma da). It's even more casual to leave out the "to be" verb altogether.

Unlike Twilight, who changes his speech depending on who he's talking to or which facade he's using, Yor consistently uses keigo, whether she's talking to an adult like Loid, a child like Anya, and even an animal like Bond. She uses keigo with strangers as well, even those who are antagonistic to her, like the other assassins in the cruise arc.

Even at times when using polite speech isn't warranted, like in her own thoughts, she still uses keigo regardless.

In addition to using keigo with pretty much everyone, she also uses the polite -さん (-san) honorific with everyone's names as well. It's not unusual to do this with fellow adults like Loid, Camilla, and Franky, but when it comes to kids, especially when they're not your own kids, other honorifics are also an option. For example, adults can use the honorifics -ちゃん (-chan) for little girls and -くん (-kun) for little boys, both of which denote endearment to someone young/cute. Loid calls Damian "Damian-kun" and Fiona calls Anya "Anya-chan" for example. But Yor uses "-san" for Anya, Damian, Becky, and probably every other kid she hasn't met yet! She uses "-san" with animals as well, which isn't nearly as common. She's the only one who calls Bond "Bond-san" and she even called the cat Kopi from chapter 43, "Kopi-san."

She also uses "-san" for people whose names she doesn't know, and in some cases, probably shouldn't show respect to. She calls the terrorists from the doggy crisis arc "terrorist-san", bad guys that she takes out on her missions "warumono-san," Olka's group "mafia-san," and the other assassins from the cruise arc "koroshiya-san."

The only exception to Yor's excessive use of keigo is Yuri, which makes sense since it's standard practice to be more casual with a younger relative than an older relative or someone outside the family. He's the only person she refers to without "-san" (she just calls him "Yuri"). And while she does use the informal verb forms with him, she still uses "desu" and its conjugations. So overall, she's more casual with him, but not completely so.

When talking about herself, Yor uses the standard, gender-neutral, polite word for "I"/"me," 私 (watashi). However, when talking to others, she never uses any form of "you." Like I mentioned in part 1 about how there's different ways of saying "I" and "me" in Japanese depending on the speech level, the same is true for "you." But it's always more polite to say someone's name or title instead of "you," and Yor does that all the time. Just like in part 2 how I couldn't recall any instance where Anya says "I" or "me" since she always refers to herself in third person, I can't recall any time Yor called someone "you" instead of saying their name or title.

While Loid uses the casual "you" word お前 (omae) when talking to Anya, Bond, Franky, and anyone else he doesn't have to be polite with, he doesn't use any form of "you" for Yor. He speaks to her the same way she does to him – saying her name plus "-san" instead of using "you."

Unlike English, Japanese is a language where you don't have to say pronouns if it's understood by the context, which is why something like this is difficult to convey in a translation.

I think it's an interesting contrast that Twilight is constantly changing how he speaks depending on whether he's acting as Loid Forger, as a spy, whether he's conversing with a fellow spy like Fiona, a casual friend like Franky, someone he respects but can't be fully open with like Yor, and even how he talks to himself in his head…yet Yor is the total opposite. As I've discussed in this post, she's extremely consistent in her speech, never straying from being polite no matter who she's speaking to or whether she's in her Thorn Princess role or not, or even whether she's speaking to herself in her head or not. This just further proves that, while Yor has to keep her assassin job a secret, she doesn't have to create a fake persona for it. Unlike Twilight, who acts one way as a spy and another way as Loid Forger, and perhaps another as his "true" self, Yor doesn't feel the need to hide anything about herself other than her job as an assassin – Thorn Princess and Yor Forger are the same person who shows respect for others no matter what her relationship is with them.

Such excessive use of keigo is odd for a fluent speaker, but it's not unheard of. There are plenty of examples of characters from other anime/manga who use keigo all the time too. I think it gives us an interesting, subtle look into their character. In Yor's case, I think her constant use of keigo comes from a combination of her sweet personality that never wants to offend anyone, but also her poor self-esteem. After all, keigo and other polite forms of Japanese speech are meant to elevate the listener while humbling the speaker. Yor speaks politely to everyone because she simply wants to be kind to everyone and make them feel comfortable, even those she has to kill, but at the same time, she often feels inferior to others.

However, there are rare exceptions where Yor stops using keigo which are, appropriately, during very suspenseful, high-stakes moments where politeness would be the least of her worries. For example, during her fight with Barnaby when she realizes she's holding back, she starts using casual speech. But she goes back to keigo before too long.

But probably the most notable example of her completely dropping keigo is near the end of her big battle against the assassins on the cruise ship, where she finally comes to realize what she's fighting for. During her whole epiphany scene – starting from when she thinks of Yuri and herself as kids until she stands up and says she won't stop fighting – she switches completely to casual speech.

There are many ways to interpret this, but I think it shows what an emotional revelation this was for her: she remembered that the suffering in the world is what caused her to want to protect Yuri from any kind of tragedy, and now the same can be said for Loid, Anya, and Bond. She remembered the words of acceptance she heard from Loid when they first met, words no one else had likely ever said to her before. She realized that she didn't care what happened to her as long as she could stop anything bad from happening to her loved ones – in that moment, no formalities were necessary with such intense self-reflection.

Continue to Part 4 ->

<- Return to Part 2

#sxf #spy x family #spy family #spyxfamily #loid forger #yor forger #anya forger #twiyor #sxf manga #sxf analysis #sxf manga spoilers #sxf meta

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terminuslucis · 18 days ago

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How did the ceremony go for Silver?

(like at the beginning of the game ceremony if any confusion)

I hope you're ready for a solid handful of backstory. A few things differ from the main story, but not much.

To start, he didn't pay Grim much attention at all. He just immediately started wandering around, assuming that Grim was like any other noisy cat. He's used to having cats complain at him (animal telepathy), so it didn't even surprise him.

The fire ears were new, though.

When Crowley came to pick him up, the funny bird jacket only further convinced him that this was some sort of performance or theme park. The situation didn't click until he was given the tour on the way to the Dark Mirror.

The Dark Mirror doesn't say that little Silver has no magic, but his abilities register strangely. The mirror can't figure out what's going on with little Silver's funky magic, so it can't place him in a house.

And, before any judgement can be made about it, Grim starts his fireball tantrum...which is quickly quenched by little Silver's unconscious power. Nobody's set on fire and no dramatic chase needs to happen.

Though, it doesn't totally convince Crowley that Grim isn't Silver's familiar.

Little Silver not getting sorted into a house despite appearing to have magic was baffling for Crowley. Even weirder was finding out that the funny kid came from another world. Little Silver was completely unbothered by accidentally showing up in another world.

Crowley scooted him into the Ramshackle Dorm intending for it to be temporary, while he figured out if an off-world kid even should go to a normal dorm. However, as they say, nothing is more permanent than a temporary solution.

In this post, Grim mentions having to clean things. Silver, though atypical, was still treated as a proper student from the start. It was only Grim who ended up as a janitor, and housed with Silver, because Crowley is so generous and kind. Truly, his grace knows no bounds.

When it turned out that Silver couldn't do normal magic (despite the adults noticing the effects of some of his abilities), Grim was given permission to assist. And so, the two-for-one student deal aligned with canon.

Grim would never admit it, but he was a little afraid of Silver at the beginning due to the flame-quenching ability. That didn't last long. The boy is more odd than scary, and Grim is more afraid for him.

#twisted wonderland #dire crowley #twst grim #ask #silvers twisted life

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arimiadev · 3 months ago

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spooky indie visual novels you've never heard of for spooky season

since it's October I thought I'd put together a list of spooky indie visual novels (horror, Halloween, creepy, dark comedy, anything in the spirit of the season goes) that you've probably never heard of but can play right now on itchio!

model employee

Model Employee is a corporate horror visual novel. Just discharged from the hospital and massively in debt for their life-saving cybernetics, the player-character must adapt to the “extreme” work-life balance of a Tethys Team Member- but they have help. Penny, the artificial personality that controls all security, waste disposal, and employee surveillance in the facility, specializes in reinforcing an especially cutthroat variety of workplace culture- and she’s taken an interest in you. If you want to get ahead in your career, you gotta be willing to take some risks.

model employee is such a tightly structured visual novel for being made in just one month for a game jam, making full use of everything while surprising you at every corner. every part of this game was so well planned and thought out- dystopian corporate satire isn’t my cup of tea (we’re living it) but the way they present everything in this game makes it feel so much more intense.

beary the hatchet

It’s Halloween 199X, and you killed someone during your morning shift. Honestly it’s inconvenient. This job was imperfect, sure, but you got to wear a mask with no questions asked and the pay was livable. But now you’ll have to keep the body in the backrooms till your shift is done. Bummer. “You’re… the absolutely WICKED and AWESOME Bearwater Grizzly Killer, aren’t you?!” …and now enters the dreaded true crime fan.

beary the hatchet is such a uniquely lovely game to look at, even if the subject matter is grim. I love the color palette and tones in this, I love the 2.5D graphics, I love how expressive all of the designs are. it’s a game oozing with style.

WE KNOW THE DEVIL

Anyone can kill the devil; that’s why they always make teens the vampire slayers, the magical girls. But some kids can’t even get that right; and that’s why meangirl Neptune, tomboy Jupiter, and shy shy Venus have to endure one more week of summer camp and each other, singing boring songs about jesus, doing busywork for adults, and hoping god’s radio can’t hear them. Before they can leave the summer scouts, they’ve got to spend twelve hours in the loneliest cabin in the woods and wait for the devil to come and live through the night–or not. You know.

it’s a visceral experience, something that feels foreign and familiar at the same time. I love the direction for it, the sketchy monochrome sprites against the colored photos- parts when there aren’t any characters on screen feel that much more real, like you’re watching found footage because of how tense everything is.

disconnect

Late at night, a phone call from a friend keeps disconnecting from you… On and off, on and off, constantly… …What would you do if you realized your friend wasn’t who you thought they were? And how would you react when the truth was finally revealed? (“̷̢̑W̸̨̊o̸̫͊u̷̱͝ḽ̸͛d̴͉̐ ̵̚ͅy̵̜̽o̸̥͗u̷̮̎ ̷̜̏s̶̤̄t̸̥͐i̴̻̕l̸̰͝l̸͉̓ ̷͕́ȁ̸̩c̸̡̓t̵̜̊ ̵͓̈t̶̙̄h̶̦͂e̸̩͠ ̸̩̅s̶̘̏a̷̪͛m̵̮͒e̴͖͑ ̸̭́w̷̨̚á̴̱y̵̯̑?̶͎̌"̷͈̆) Find out what happened to our scaredy-cat protagonist, Indie－a famous horror storyteller on the H-T-M (Horror, Tales, and Mystery) forum. What would she do when she unintentionally uncovered a mystery hidden deep within her own home?

I love the style of disconnect and the unorthodox way of getting to the truth of the matter. I’m not normally one to play furry VNs, but the designs are adorable and I love the presentation of the game, it has a lot of animation in it. there’s also one moment not too far in on this screen that made me scream…

curse of the juniper tree

Curse of the Juniper tree is a tale of two siblings, a cursed tree and an isolated village. It is a short kinetic visual novel featuring 2d exploration. Walk around the snowy village and talk to its inhabitants! Story is loosely based off the fairytale called The Juniper Tree by the Brothers Grimm in Grimm’s Fairy Tales in 1812.

this is a lovely and short story about two siblings living in a frozen land together. it’s a very atmospheric story with so many beautiful blues and detailed character designs. the controls were a bit hard to figure out at times but it’s worth your time.

reaplaced

Grea Perrim is a reaper of souls, and it’s her duty to bring the deceased to the other side. But in the world of reapers, death isn’t any kind of equalizer. The value of a soul is directly tied to the peculiarity of its death. Grea’s supernatural senses bring her to a Halloween house party with three costumed guests. She soon finds the most valuable kind of soul: the victim of a locked-room murder. In order to reap the soul, Grea must unravel the identity of its killer and explain its death in full. Is this the work of a human? A witch? Or something else entirely…?

reaplaced is a fun little whodunnit set on Halloween about a grim reaper out on the hunt who finds herself in the middle of a murder mystery. it’s much more indepth than I was expecting and the soundtrack is wonderful—there’s a lot of small touches to it that make it great.

Silver Thread

An exorcist that doubts the existence of ghost might sound contradictory but to Alicia Wilkershire, this is the right way to get closer to the truth. Her latest job sounded like another run-of-the-mill case and she greeted her client with her usual pessimism but is it, really?

Silver Thread is a spooky and short RPGM game about a skeptical exorcist trying to help a guy with his problems. the style is lovely and if you also like this kind of style, the developer has several other RPGM games like this!

Elevator Hitch

Elevator Hitchis a short 2.5D surreal horror/escape room visual novel with point-and-click and puzzle elements following the story of two co-workers suddenly finding themselves stuck together in a "Perfectly Normal" 70s office elevator. They must explore each liminal-looking floor and find a way to get off the elevator to their actual destinations.

like a few others on this list, Elevator Hitch was made in just a month for the Spooktober Visual Novel Jam and was my favorite game from the year it came out (2022). it's more of an adventure style game than pure visual novel, so expect puzzles and a lot of bad ends! this developer also has a lot of other similar style adventure visual novels.

The Case of the Serialized Killer

When a popular illustrator is found dead, disgraced demonologist Harold Ludicael is hired to summon her ghost. Ghosts are the one thing he can't summon, but with sharp insight, perhaps he can solve the mystery, and resurrect the most important thing: His career.

this visual novel is an absolute feast on the eyes as all of the art is done by traditionally painted watercolor artworks! the characters are all unique and the world feels very lived in. if you like murder mysteries then check it out.

Stillwater

"𝕊𝕖𝕖𝕚𝕟𝕘 𝕤𝕥𝕣𝕒𝕟𝕘𝕖 𝕥𝕙𝕚𝕟𝕘𝕤 𝕔𝕠𝕞𝕖 𝕒𝕥 𝕒 𝕡𝕣𝕚𝕔𝕖…" A woman arrives with a mysterious letter in hand addressed to her grandfather. Etched in crimson is a foreboding message, a warning—a promise made from a time forgotten. Private Investigator Hugo Laurent and his assistants must solve this bizarre case before an old family's curse befalls them all.

Stillwater is a lovely looking game - I love everything about the art direction for it. it's not overly scary but very atmospheric with several endings to find.

Who is the Red Queen?

Alice falls down the rabbit hole into a Wonderland not quite right. Meeting an eclectic collection of people, animals, and some things in between, she sets out on an adventure in this odd new place to find the missing Red Queen. Or, more specifically, to find the pieces of the dismembered queen whose body has been strewn across the land.

a familiar but new take on Alice in Wonderland, now with a lot more yuri. like a lot of the VNs I've recommended, this was originally made in just 1 month. this one in particular has a lot of dead ends, mention of gore & dismemberment, and other content warnings.

okay now that you've made it this far I'm going to promote my gay horror / Halloween visual novels

Asphodelium

Hazel is an ex-adventurer who's settled down with some of his previous guildmates after the adventure of a lifetime—taking down a doomsday cult that tried to end the world, but at the cost of killing their former guild leader who turned against them. Despite their adventure still haunting him months later, he's tried to move on. —That is until a man with the same face as their guild leader approaches him. This is a story about cults and killing and killing cults. And being in love.

Asphodelium is a melancholic dark boys love visual novel that I made solo in about 3 months. it's entirely in NVL mode (I love you NVL) and around 3 hours long and my personal favorite game I've made so far.

Dahlia

a vampire has snuck into your room while you were sleeping. the only question is - are you next on her menu? Dahlia is a very short sapphic visual novel made in under 36 hours for the Velox Formido game jam, a jam for shortform visual novels. survive being trapped with a lovely little vampire, or don't.

also NVL mode because I love NVL mode. this is a short and sweet vampire visual novel I made solo in a weekend for a game jam that has several different endings.

Witch You Want

With a rather sparkly magical paper, you find a job listing for a local witch needing an assistant with making potions before the town festival that weekend. You sign up, unsure exactly what to expect...... A pompous and questionably excellent witch runs a local apothecary in town but finds that if she wants to make enough potions before the festival that weekend to sell (and keep her ongoing potion shop afloat) she'll need some assistance. After a dubious help wanted ad, she gains you as an assistant. Will the two of you see through to the festival? Will you be able to make a single potion? Will this girlfailure capture your heart?!

this is my latest visual novel that released just a few days ago! I directed & programmed this short cutesy game for a game jam at our studio. it's pretty fluffy romcom with a potion minigame in it. please help our girlfailure make potions, she needs all the help she can get.

#visual novel #visual novels #indie games #game recs #game recommendations #visual novel game #my recommendations #most of these are spooktober entries #I tried to only include finished or basically finished games #so no demos #and not every entry is straight up horror #some are more just about Halloween and some are partially comedic #there's a wide range here I think!

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libraryofgage · 4 months ago

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Meddling Kids

Part of: Steve Deserves Good Parents, Actually

From the girl that brought you that silly little Spicy Six Scooby Movie post (I've been thinking of making that post into one of those social media series things on Tumblr but imma let that cook a little longer actually lmao) is a brand new Stranger Things and Scooby Doo crossover

Anyway, we're here for good vibes and fluffy Scooby gang, so definitely don't point out any typos hfjkds

Have fun reading!

---------

People coming.

Steve freezes, looking at the possum that's scurried into the room and sidled up next to him. He takes a deep breath and forces his shoulders to relax. People have come to explore the abandoned lab before; usually, it's just older kids daring each other to stand inside for a few minutes. There's been that lady recently who likes dressing up as a weird rat-thing, but she hasn't bothered Steve or his friends. Actually, she may not even realize Steve is here.

"Is it the lady again?" he asks, his voice low as he places a hand on the possum's head. He feels its nerves flow through his palm, and it pushes its head against him, snout nuzzling against the 004 on his arm.

No. Four big ones and a beast.

Four adults and a dog, probably. Steve frowns slightly and gets up, carefully making his way across the dirty floor toward the window. He lifts the corner of the curtain and stares at the bright blue, green, and orange van parked in front of the building. Four adults are standing around with a big dog, which isn't looking too happy about being near the place. Steve can't blame it.

He slowly pushes the window open a crack, straining his ears to hear one of the adults say, "Okay, gang. Daphne, Velma, and I will look around downstairs. Shag, you and Scooby will take the second floor. We'll meet back in the lobby in an hour."

"Can't we just, like, not explore the creepy abandoned lab for once?"

Steve assumes this is the one called Shag, and he hopes the other man agrees to just leave. That would make his life so much easier. He hears the dog, Scooby, agree with the sentiment and hopes the other people can understand him, too.

Unfortunately, one of the women says, "C'mon, guys, the monster isn't real. Here, I'll give you some Scooby Snacks for the road."

And that seems to be the end of that. The man and dog accept the snacks, the people enter the building, and Steve resigns himself to hiding for however long they stick around.

He bunkers down, leaning against the wall beneath the window, and goes back to coloring the floor with markers. This entire room is covered in drawings that reach only a few feet up the wall. Steve isn't tall enough to go any higher.

Right now, he's drawing all the animals in the building. There are the ones that were there to begin with (mostly rats and rabbits) and the ones that moved in after the bad people left (possums and raccoons and cats and more rats). He doodles them marching across the floor, a relaxed smile tugging at his lips as he colors a cat purple.

He's putting the finishing touches on the final animal in the line (the very same possum that came to warn him about the people) when he hears a scream from down the hall. Steve blinks, looking up just in time to see Shag and Scooby throw open the door, slide into the room, and slam it behind them.

They lean against it, sinking to the ground, and finally notice Steve sitting against the opposite wall. "Like, Scooby, please tell me I'm imagining that kid over there," Shag says, his voice wavering and cracking near the end.

Scooby starts out looking as scared as Shag, but then he tilts his head. He hesitates for a few seconds before dropping low to the floor and slowly moving toward Steve. "Scoob, what are you doing?" Shag asks.

Not a ghost, Shaggy!

"Not a rhost, Raggy!"

Steve blinks, frowning in confusion. Scooby talked. Like, actually talked. He talked out loud and Shaggy (it makes as little sense as Shag in Steve's opinion) understood him. "There, like, can't be a kid here!"

By the time he says this, Scooby has reached Steve, looking up at him from the floor with hopeful eyes and an eagerly wagging tail. Steve holds himself back for all of two seconds before reaching out and scratching behind Scooby's ear.

The dog lights up and tries to squeeze into Steve's lap, licking his cheeks and covering him in slobber. Steve laughs, trying to evade Scooby's tongue and utterly failing. "Stop, stop!" he shouts breathlessly, still giggling even when Scooby finally gives him a break.

"Oh, man," Shaggy says, slowly moving from the door to approach Steve. When he's a few steps away, he stops and crouches. "What are you doing here, little guy?"

Steve blinks, glancing at Shaggy before turning his attention back to Scooby. He reaches up, scratching under Scooby's chin and trying to ignore his nerves about talking to another human after being alone for so long. "This is my home," he says.

Your home?

"Your rome?"

"Like, man, this is not a good home," Shaggy says, looking around at the dust and the cobwebs and the possum in the corner of the room. "Don't you have, like, parents or something?"

"Not really."

Can we keep him, Shaggy?

"Can re keep him, Raggy?" Scooby asks, his tail wagging hopefully as he looks at Shaggy over his shoulder.

"Gee, Scoob, I don't know," Shaggy says, frowning slightly as he finally sits down on the floor and hunches over. "A kid's a lotta responsibility, man. We gotta feed him and clothe him and, like, make sure he doesn't get sick."

Steve looks between the two and can't help a slight smile. Shaggy is nice, and Scooby is a dog, which automatically makes him good to Steve. He doesn't mind helping them out a little. "You're here about that lady, right?" he asks.

Lady?

"Rady?"

"Like, what do you mean lady?" Shaggy asks.

"The one dressing like a rat," Steve says, wondering how they didn't make that connection themselves. Haven't they already realized it's not a real rat-thing?

"Oh, man, I guess Velma was right," Shaggy says, a relieved laugh bubbling out of him as he slumps even more. "We gotta tell the gang, right, Scoob?"

Yeah, yeah!

"Reah, reah!"

"Are you trying to catch her?" Steve asks, looking between the two once more.

"Well, like, the rest of the gang's gonna want to."

"I can help with that," Steve offers, smiling reassuringly at the concerned looks that Shaggy and Scooby give him in return.

------------------------------------

Hawkins is supposed to be a vacation. Sort of. There's a possible mystery in the town, but even Velma couldn't confirm for sure, and Daphne had encouraged them to just relax.

Steve is inclined to agree with her, especially when she buys them a house with a pool that Scooby immediately launched himself into.

Still, he can tell that Velma won't relax unless she gets a chance to look around, so he finds her to go on a grocery run. "Oh, you're right," she says when he points out the lack of food in the house. "We'd better get something before Shaggy and Scooby start chewing on the walls."

"We'll set up the bedrooms while you get groceries," Fred says, grinning at them from across the living room. He digs in his pocket and pulls out the keys to the Mystery Machine. After making sure Steve is ready, he tosses them over.

"Please just don't put me in that plaid room," Steve tells him, catching the keys and passing them to Velma.

"I think that would count as cruel and unusual punishment, Steve," Daphne calls, her voice coming from down the hall where she's no doubt started setting up her room. She pokes her head into the hall, smiles at him, and adds, "Don't worry. We'll put Shaggy and Scooby in that one."

"Knowing them, they'd like it," Velma says.

As if he was just waiting for his queue, Shaggy leans over the second-floor railing and shouts, "Dibs on the plaid room! It looks groovy!"

Steve snorts as Velma rolls her eyes with an amused smile. "Come on, Steve, let's get going."

The drive to the grocery store is quiet, with Steve paying more attention to the town around him and Velma focusing on driving. He notes anything that looks weird, like the lack of people walking around. They pass other cars, of course, but even when they drive past what could be called Downtown Hawkins, he doesn't see anyone walking around.

He tucks that away for later, seeing nothing else of note until they park near a pile of bikes at the grocery store. "They're not locked," he says, nodding to them.

"It's a small town, Steve," Velma says, unbuckling as she turns the radio down so their ears aren't blasted when they get back. "They probably don't feel the need to."

"I guess," Steve mumbles, hopping out of the van and waiting for Velma to round the front. He walks next to her and holds the door open when they reach it. "Maybe we can get sandwich stuff."

"We'll have to wipe out their entire deli section," Velma says, sighing as she grabs a cart and pushes it towards the produce aisle. "At least we never have to worry about food waste."

Steve hums in agreement, easily falling into their normal routine of Velma calling out items and him grabbing at least five of them if there's enough in stock. "What do you think about that mystery?" he asks, placing a bag of apples in the cart.

"I think that forest out there is prime real estate," she replies, leaning on the cart's push bar. "Get a watermelon, too, Steve. Anyway, demon dogs aren't the weirdest we've run across."

"They were demodogs. Not demon dogs."

"I still think that was just a typo. Either way, I'm sure we can walk around the forest later and, you know, learn what the squirrels have seen."

Steve crinkles his nose, glancing at her as they make their way towards the deli. "You know the squirrels are too flighty. We're better off with the raccoons. Or, like, the sparrows."

He looks over to see her smirking and realizes she was just teasing him. Steve huffs and grabs as many sandwich meats as he can, getting everything but ham since Velma can't eat it and it gives Daphne migraines.

"Well, whichever animals you interrogate, I'm sure they'll clear up this mystery in no time."

Steve hums in agreement, follows Velma into the cereal aisle, and is about to say they should consider focusing on field mice when a voice from the other side of the shelf says, "Dude, spray cheese isn't gonna help us against the demodogs."

He blinks, pauses, and looks at Velma. She tilts her head, holds a finger up to her lips, and waves off the smirk he gives her at being right about demodogs not being a typo. "Yeah, I know," another voice says, followed by the clatter of grabbing a few cans, "but I want Cheez-Whiz."

"That stuff is gross," a girl's voice says, her tone flat in a way that Steve almost recognizes. He frowns slightly, tilting his head as he silently places a few cereal boxes in the cart. "It tastes fake."

"That's the point, El."

"Shouldn't we focus on lighters and hairspray?"

"I mean, this is technically a spray, right?"

Steve glances at Velma, raising an eyebrow before gesturing to the end of the aisle. She nods once and starts pushing the cart in that direction, huffing in amusement when Steve drops in a few more boxes along the way. "You'd think we're feeding an army," she says, tone dry.

"We might as well be," Steve replies, feelings his shoulders relax at the routine exchange.

They round the corner to see three kids down the aisle, two boys and one girl. One of the boys has curly hair and a baseball cap while the other is wearing a basketball jersey, and the girl has short hair that falls to her shoulders. They're all looking at the shelf, but the girl glances over when Velma and Steve enter the aisle.

She meets Steve's eyes, and he wonders if he's met her before. Her eyes narrow slightly, more in confusion than anything else, and her gaze travels down. He feels it on his arm as she lands on the 004, and her eyes widen as she steps away from the shelf.

Steve glances down at her arm in turn, sees the 011, and feels like his breath has been punched out of him. "Eleven," he whispers.

Next to him, Velma shifts closer, placing a hand on Steve's shoulder. "I'm here," she says, her voice low and more reassuring than she'll ever know.

"Four," Eleven says, walking up to him without another glance at her companions. "Are you here to hurt me or my friends?"

Steve blinks. "What?"

"Are you violent? Kali, Eight, was violent. And angry. Are you angry?"

As she talks, the two boys move to flank her, looking between Steve and Velma with something between suspicion and confusion. "Is this one of your siblings, El?" Basketball Jersey asks.

"Yes. Four. He was...transferred a year before the Upside Down. Four, these are my friends Dustin and Lucas"

"I go by Steve now. And, uh, no, not violent. We're grocery shopping," Steve says, awkwardly gesturing to their cart.

"Steve? You can name yourself and you choose Steve?" Dustin asks.

Steve blinks and frowns. "I didn't name myself. I asked the smartest rat I knew to name me."

The two boys blink as El nods in understanding. "The rat chose well," she says.

"Dude, how many people are you feeding?" Lucas asks, seeming to finally notice the shopping cart.

"Well, one of them is a Great Dane," Velma says. "Hello, El. I'm Velma, one of Steve's...guardians, I suppose. How would you like to come by for dinner? El and Steve can catch up, and you can tell us about those demodogs you mentioned."

"Were you spying on us?" Lucas asks.

"You weren't exactly being quiet," Velma tells them.

Before Lucas or Dustin can start arguing, El cuts them off, "We will come by for dinner. I am glad we met again, Steve."

"Yeah. Me, too," Steve replies, smiling at El and wondering if they'll have to explain how Scooby can talk.

----------

Tag List (please let me know if you'd like to be added!)

@romanticdestruction,

#steve harrington #steve deserves good parents actually #stranger things #scooby doo #scooby doo crossover #eleven stranger things #dustin henderson #lucas sinclair #meddling kids au #velma dinkley #shaggy rogers #daphne blake #fred jones #it'll eventually become steddie but i think this one might go a little slower #anyway jewish velma you can't change my mind

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tr4gictea · 4 months ago

Note

how about reader who is a honeybadger human x house of hearth (platonic)

Honeybadger!Human!Teen!Reader w/House of the Hearth

❥Masterlist

Tags: child homelessness, orphan reader, fighting, jumping a man, illegal activity, fighting, curse words, oc orphans

Including: Lyney, Lynette, Freminet, and other house of hearth children

word count: 3,729 words

A/n: Hi! Thank you for the request! So sorry this took so long to come out. I got lazy and accidentally deleted half of my work while writting. But this was a fun request! I got to look into honey badgers, who are such interesting animals, and (Y/n)'s personality is based on a honey badger!

Living on the streets of Fontaine isn't as bad as people make it out to be. Sure you have to scavenge for food people have already eaten, fight other kids ten times your size, and be ridiculed out in public by people for your ears and tail but you hide them under a coat so it's no problem.

Your days are usually slow with you getting out of bed at whatever time. You then head to Café Lutece in the morning you swipe food off empty tables, which are pretty tasty, sometimes. You then go down to Fleuve Cendre and see if there are any jobs that can earn you a few mora. These jobs usually require you to deliver illegal luggage somewhere, slip something in someone's drink, or whatever the commissioner wants. These jobs are usually highly illegal but they pay so well that you don't complain. Not to brag but you were pretty good at it. After that, you get lunch depending on how much you earn from the commission. Once nightfall comes you have to go and find a place to sleep. There's one spot on the roof of the court that every street kid in the city fights over and you are always the one to take the spot. No kids in Fontaine have weapons that they can fight you with, but you have your claws. These can rip and shred any kid who tries to take your night spot. These street kids know to leave you and your spot alone for the most part.

But today when you got to your spot you found three young adults sitting in your night spot. Two boys and one girl. The first boy was wearing a top hat with clean-looking clothes. The second boy was wearing some kind of sailor hat. The girl was some sort of hybrid with a cat because she had cat ears and a tail, her outfit was similar to the first boy's outfit but blue. These were definitely not street kids and you had no idea how they got here.

"AY!" You yelled the three turned around in surprise. "Get out of my night spot unless you wanna pay for hospital bills tomorrow."

The first boy stood up "So sorry about this, we will be finished in a min-,"

"No." You snap at him "You'll finish now or I kick your asses all the way to Sumeru and back."

"You know you shouldn't be talking like that to people who are much stronger than you." He flashed his pyro vision to you and the girl and the other boy does so too. He gave you a threatening smile. "Give us a minute."

Fun Fact about honey badger: It is said to be the most unbothered animal as stated in the Guinness Book of World Records. So unbothered in fact that they go up against lions and venom snakes.

So when the man threatened you, the words went in one ear and came out the other.

"So? You got a rock that glows. You're still in my spot."

"You're quite the feisty one aren't ya?"

"..."

The girl sighed and got up. "It's not worth it Lyney. Let's go," And with that, they stood up and left your spot. They only moved across the roof away from you but it was enough away where you could sleep without hitting them.

As you lay down you could feel those people's eyes on you. You supposed they were still mad at you for making them move but you didn't care as long as they didn't bother you.

The next morning you wake up, expecting all three people to be gone, instead, you find the cat girl and the quiet boy gone. But the giant top hat man is still there. He was sat, just staring at you.

You thought of saying something to him, but you didn't care all that much. If he was gonna be a creep let him. As long as it didn't impede on your day. You continued with your day as usual. The first thing you needed to do was get some breakfast. There was a nearby cafe, Café Lutece, where you could wait for people to finish eating and then take their leftover food. Their outside seating made it easier for you to grab food

As you got up from your "bed" the boy also got up at the same time. He had an unmoving smile on his face. It unsettled you to your core. But you carried on with your day thinking he would leave. But no instead he followed you to the cafe. You couldn't help but sneer in disgust at the people there they were all dressed in the finest clothes and eating the most expensive food and they paid no mind to the suffering population of Fontaine. You staked out in the bushes. Your unusually thick skin helped you not feel the branches poking you.

As you stalked and waited for someone to leave, the top hat guy sat down at the shop. A few people leave but the waiters are quick to take the extra food before you can grab it. It looked like you're gonna have to skip breakfast for today until the top-hat guy left his table. You race to his table and find that most of if not all the food has remained untouched. There was a chocolate croissant, grapes, and bread with a side of jam. You stuff your mouth with food immediately for some reason it tastes better than usual.

Now with your stomach full you headed down to Fleuve Cendre to see if there were any jobs. For some reason, the man in the top hat is still following you. He seems harmless enough and you don't care enough to ask him what he's doing.

When you get down to Fleuve Cendre you are lucky enough to find someone who will pay you 5,000 mora to jump some rich asshole, you take to job without a second thought. That amount of mora could pay for a whole week of lunches! The commissioner hands you a picture of the guy with his name on the back and a letter. He gives you his instructions and sends you off to complete the commission.

You were about to head off to beat up the victim when you realized that the top-hat guy was still following you. He kept a good distance from you but you could still tell he was following you. You had to find a way to lose him.

The commissioner said the guy worked on the northside of the court so if I get this top hat guy lost on the west side of the court you can hope that you'll never have to see him again. Right next to the entrance of Fleuve Cendre, there was an ally that had pipes that were easy enough to climb up to the roof.

You put your plan into motion and quickly ran to the ally as soon as you were out of the sewers. You looked behind yourself to see if he was chasing after you but to your surprise, he was slowly walking towards you. Once you got to the ally you jumped from wall to wall, latching onto the piping as you scaled the wall. When you got atop the roof you wasted no time a sprit off to the location the commissioner gave you.

Arriving at the meet point you saw that the man in the picture was already there. The man's name was Louis and he had scammed some big gang out of the mora he promised them. All you had to do was to give him some lame excuse to get him to a secluded spot where you could beat the guy up.

Jumping down from the roof you ran up to the guy in a hurry. "Sir! Please! I need your help!" You exclaim while tugging on the man's sleeve.

"What?! Don't touch me! Gods, you street rats are filthy!" So he's a man who only cares about himself? You were originally gonna say that your friend got injured and you needed to help carry her to a hospital, but you have another idea now.

You release your hands from the man's clothes and bow to him. "I'm so sorry sir, but my master has injured himself. Please I need help carrying him to a hospital,"

The man looks hesitant "Who is your master anyway?"

Oh shit. I didn't think about that. I just need the name of a rich person. "U-uh, his name is uh, Abreo! Sir Abreo!" You heard it from a girl while she was having her breakfast this morning.

"S-sir Abreo!" That name seemed to do the trick as his demeanor immediately changed. "Well, why didn't you say so! Lead the way!"

Perfect everything was going to plan. Once he was cornered in the ally you sprinted forward and ran Louis straight into the wall. It was a blur after that. When you came to Louis' body was full of bruises, long claw marks, and blood dripping down his nose. The commissioner said to leave the letter they handed you in his hand and to take a picture of the guy beat up. Once you did that you left the scene without a second look back. If you did look back, you would have found top hat guy admiring your work.

Once you got back to the commissioner you showed him the picture that you got at the job. He gave you a pat on the back and handed you your sack of mora. You decided to get yourself a little treat and went to a nearby vending machine that sold Fonta. This would have been the plan if you had not been stopped in your tracks by that guy in the top hat blocking the exit of Fleuve Cendre.

He was leaning against the wall facing you while playing with a deck of cards. "You know, I haven't seen someone with features like you before." the strange man lifted himself off the wall and started taking slow steps toward you. "Nor, have I seen someone who can take on a full-grown man at your age with only raw skill. And from the looks of it, not strength from how weak you look"

Wait, how did he know you did that? Had he still been following you? And did he just call you weak?!

"I've been following you around for the day and I have to say you would make a perfect addition to the house!"

"Hm? What are you even talking about stalker?" You quirked your eyebrow still wondering what he was talking about.

"The house of the hearth of course!" He said, "We take in orphans, such as yourself, who we see have the potential to thrive in the house! And you have earned yourself an invite with that show of talent today!"

"Nah, I don't do orphanages they'r-,"

"We offer three meals daily and a warm place to sleep."

"Deal."

The house wasn't what you expected. You learned that the boy who recruited you was named Lyney. He directed you to a shared room where you slept with ten other kids about your age, you each had your own bed so you didn't have to fight each other for one. And it was apparently a rule not to fight each other?! It was a strange house for sure.

You met with some of the younger kids. They poked and pulled at your tail and ears. They asked so many questions like:

"Why do you have ears and a tail?"

"Because I'm a hybrid."

"Of what animal?"

"I don't know."

"Why not?"

"Uhh..."

"Why doesd your hair have two strips and not three?"

"I-,"

"I like the number three better than two so you should have two strips!"

"Uhhhhhhhhh...."

"Okay, guys let's leave (Y/n) alone and stop asking them so many questions." An older girl said as a younger boy pulled you away from the children. These two were the others on the roof that night. You learned that the girl's name was Lynette and the boy's name was Freminet. They were both the quiet type and didn't speak that much, you didn't know if it was because they were shy or introverted. But something was telling you that it was both.

"Sorry about that," The girl spoke, "They get rowdy when they meet new people who look different."

"It's fine,"

An awkward silence falls around you three until Freminet speaks up "So, um how are you adjusting?"

"I'm alright, it's weird switching from the streets to a warm house."

"Tell me about it," Lynette said, "When Lyney and I moved from streets to here we were having trouble sleeping a full 8 hours."

"You lived on the streets?" You're surprised considering how well they've adjusted to high society, being famous magicians and all.

"Yeah, the spot where we met you was actually where we used to sleep. We went back there to show Freminet where we used to live,"

"And he was appalled by the condition we had to go through!" A voice behind them said over dramatically. You pecked over the siblings' shoulders to see Lyney with his hand over his heart like he was wounded.

Lynette rolled her eyes at Lyney and Freminet began to defend himself.

"I-i did not! When did I say this to you?!"

"I heard it at every place we showed you 'Oh poor Lyney and Lynette!' 'They went through such hardship!' "

Lynette scoffs at this "Lyney, stop that,"

He sighed and relaxed his body "I'm only teasing dear sister! I just like teasing our little Freminet." The magician says while pinching the younger boy's cheeks.

"I'm not that much younger than you you know?" He says swatting his brothers hand from his cheek

"Yes, but you'll still be shorter than me," Lyney says with a wink. "Anyways, I came here to grab (Y/n)!"

"Hm? What for?" you ask curiously.

"I am going to assess your fighting skills." You say goodbye to Lynette and Freminet for now and Lyney walks you to the training grounds. This place is filled with all types of weaponry from swords to crossbows. You're sure that this one room would be enough weapons for an army.

"Here," Lyney snaps you out of your trance and hands you a wooden sword. "The first person to step out of the circle loses."

"Hm? What's this for?"

"For your fighting assessment,"

"Nah, I don't need it," You say as you toss the sword to the side. You honestly have no idea how to use it. "I just need nothin' but my bare hand and 2 minutes. I can push you out of the circle."

"Oh my, confident are we? Why? You think I'll get scared?"

"You said it, not me. If it makes you feel safer, you can use a real sword if you want." Even if the sword hits you it not like it would cut you, you have incredibly thick skin that can't be pierced by just any blade. But you weren't gonna tell him that.

"Hehe, the fight begins when I say 'go'." He says ignoring your last statement.

"Three," He gets into a fighting stance.

"Two," You do the same and you bring your fist up.

"One." You take a breath from your mouth.

"...Go."

Lyney rushes fast at you with his sword ready to hit your face. You block with your arm and Lyney's sword lands on your forearm. He attempts to use the sword to push you backward and out of the circle. But you manage to stay in place by grounding your feet.

You lean your arms back and push Lyney away from you. "Impressive I didn't expect this much strength from you." You ignore his comment and decide to attack first this time. You speed towards Lyney he raises his sword expecting you to go for the face but instead at the last second you drop down on your knees and chop the inside of his knees causing him to fall on his knees.

"HA! Got you!" You say as you grab Lyney by his shoulder and walk him out of the circle.

"Impressive!" He said with a smirk.

"I won! That's one point for me!" You say proudly.

"Actually, I won."

"What?! No! I won fair and square I got you to leave the circle."

"Uh-uh," He said shaking his finger at you. "I said the first person to leave the circle loses. And when you decided to drag me out of the circle you also stepped outside of it first. So I won that round!"

"W-what?! That's not fair!"

"It's perfectly fair! Come on let us go again and I won't go as easy on you this time." He said with a wink. "And this time try not to lose unknowingly

"That was a one-time thing!" You bark back at him.

After a bit of Lyney's training assessment, he excused you to go have some lunch. He said he had to practice a magic performance with his twin Lynette and his brother Freminet. The lunch for today was a beat salad, creamy pasta, and a warm slice of bread on the side. But your favorite was the honey packet. And good archons you LOVED this damn packet!

The first day you were here you were sat down in a fancy room with a lady discussing what would happen when you entered the hearth and the rules you would have to follow. Bored by her incessant yapping you looked around the room for entertainment. Your eyes landed on a small pack that came with your tea you had been served. It had words written in yellow lettering on it. You couldn't read so you had no idea what it said. You ripped the thing open and watched as a golden substance leaked out of it. You sniffed it first, it had a sweet and kinda fruity smell to it. You then licked it. The golden substance coated your tongue in a sweet thick coat. You were entranced by the taste.

"Mx. (L/n)?" The woman across from spoke up. "Are you alright?"

You jump up from your seat launching yourself from your seat to the lady across from you. "WHAT IS THIS SUBSTANCE?!" You shove the pocket in her face while the golden syrup drips onto your hand.

The lady jumped back in surprise, "M-mx. (L/n), please calm yourself!"

"I have never tasted anything so amazing in my life." You stared at the small packet as if it hypnotized you.

"It is called honey..."

"Honey..." You sit back down while you keep staring at the golden liquid.

"Yes, can we get back to the matter at hand please? Now, other operatives will..." After that, she talked about some other thing but you could not think about anything else but the honey packet in front of you and took small licks so you could savor the flavor of the packet.

After the meeting, you specifically asked the person serving food every day if they could give you honey packets.

Back at the present time you were enjoying your lunch when other orphans from the hearth entered the cafeteria. To your surprise, they made it a point to sit next to you every day. Specifically Celine and Adrien, (They are not cannon in the games they are oc) Celine is close to you in age while Adrien is one of the adults that have aged out of the orphanage but still works for the fatui.

"Hey, little critter." You feel a hand come down on your head and ruffle your ears. You grumble at the gesture. You look behind you to see Adrien, he's the only one in this place who dose that to you and it annoys you so much.

"Adrien, stop doing that too (Y/n)." You turn back around to see Celine sitting across from you. She also places a book next to her and opens it.

"I would but I how can I leave these cute ears alone without any love." He says as he grabs your ears and shifts them back and forth on your head.

"Hey! Stop that dude!" You finally speak up and swat away his hands from your head.

He sighs dramatically and flops into the seat next to you. "Fine, I'll stop... But just for today." He says with a wink.

A different voice appears across from you "Maybe they'd let you touch them more if you just asked first." Freminet speaks as he places his plate on the table next to Celine.

"Nah, this is more fun." Adrien chuckles.

"Even if you did ask I still wouldn't let you touch them."

"Oh hi, Freminet," Celine greets the boy, "Are Lyney and Lynette on a mission right now?"

"Oh, no I just wanted to sit here today." He said sheepishly. You all continue to eat your lunch with light conversation when you turn to your side to see Lyney looking over the cafeteria when his eyes land on your table. He starts rushing towards the table.

"Shit!" Freminet ducks under the table in a rush.

"Hm? Frem what are you doing?" Celine looks down on him with her mouth full of food.

"Just ignore me! Pretend I'm not here!" He says in a hushed tone.

Just as he says that Lyney appears behind you with Lynette close behind him. "My dear siblings! Have you seen Freminet we need him to serve as a part of our show! And I believe I just saw him over here for a second."

You give him a questioning look and, unintentionally, your eyes go from Lyney's eyes to the ground under the table.

"Thank you (Y/n)!" Lyney says still with his creepy smile on his face.

"Wait what?" You say confused about what you did but then Lyney crouches down and yanks a pair of legs from under the table. He drags Freminet from under the table and hoists him on his shoulders.

"(Y/n) how could you!" He says as he reaches out for you. You watch as Lyney and Lynette exit the room with an unwilling Freminet on his shoulders.

Man, this is a weird ass family.

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