#like he would do anything to ensure their survival that was in his capacity to but he was very much a trial by fire kind of teacher

[xhatake]

anyways kakashi has a bad track record when it comes to how he treats his friends in this essay, i will ---

[siriuslyobsessedwithfiction]

Baghra Morozova is one of the most selfish fictional characters ever written. Not only she possesses no empathy, she has never had an aspiration or an ambition in her life. This is probably LB's fault because she didn't give her a personality except being a bitter nihilistic pessimist, but let's discuss the harmful ideology she lived by and tried to install into his son and Alina. And how Aleksander refused to learn that lesson from her.

Wanting doesn't make someone weak, nor it is a problem.

Darkling's infamous words "The problem with wanting is that it makes us weak" is purely an echo of his mother's teachings. Because Darkling's whole source of strength and motivation since he was thirteen was the want to make a better world for Grisha. Or at least a world where they wouldn't be hunted and shamed for existing. After centuries of loyal servitude to awful rulers he managed to create a safe haven for Grisha, but even there, they were serfs.

There is no denying that Baghra was an intelligent, ruthless, powerful, cunning and unfeeling woman. Unlike her son, who was prone to sentiment even though she did her best to weed it out of him, Baghra was not particularly emotional even when she was young. I don't know if she had some sort of mental condition or she was just that kind of person, but she lived for centuries and never had a dream to become anything. Creation of her son Aleksander served only one purpose to her - so she would have someone like herself. Someone she could share loneliness with. Because I cannot call Baghra's and Aleksander's relationship companionship. She made that decision when she was young, and after raising him, she often left him to his own devices, but never actually let him out of her clutches. She abandoned her other children because they weren't Darklings. She did not want a family, she wanted a reflection of herself who she could have a conversation with. Aleksander should have just brought her the mirror from "When water sang fire" which could create an illusion of a person's reflection being sentient.

Anyway, back to the point. Baghra was a part of a prosecuted minority for centuries and never tried to make a difference. Nor did she support her son when he tried. I can understand how at first she was solely focused on survival and that mindset stayed with her, but after both of them were centuries old, why didn't she do something? She clearly didn't fear death. She is content to sit in her hut, stroke fire and spit venom for eternity. Which is funny, because she's supposed to be inspired by Baba Yaga from Slavic fairytales, but she reminds me more of Nacarqeqia, a stereotype of a lazybones layabout lit ash-raker from fairytales, who has capacity to do heroic things by outwitting the opponents, but chooses to sit by the dwindling fire and complain and daydream instead.

When your kind has been subjected to genocide for centuries, it's not "greedy" and "corrupt" to take drastic action.

Tolkien pushed the narrative I agree with, that war is always horrible and it's not something to be glorified, which lots of works in fantasy tend to overlook. I agree with Baghra that power corrupts. But like @aleksanderscult and @stromuprisahat have already discussed in their analysis posts (check out their work), Aleksander did not want power for himself or to lift Grisha above other people. He wanted his kind to have basic human rights. I don't understand what LB was trying to say. That fighting for freedom of your people is bad? And Baghra is convinced it's best to do nothing, because humanity is already too messed up and there's no point in trying. Some wise ancient advisor she is.

What actual humanitarians think about not taking action to help your people survive

Nobleman Ilia Chavchavadze was a Georgian public figure, journalist, publisher, writer and poet who spearheaded the revival of Georgian nationalism during the second half of the 19th century and ensured the survival of the Georgian language, literature, and culture during the last decades of Tsarist rule. (A.k.a "Saint Ilia the Righteous". Ironic, I know. Like Baghra's father, Ilya Morozova in Shadow and Bone. But I wouldn't compare them.)

In his publication "Letters of a traveler", Chavchavadze writes his inner monologue, where he worries about his country and contemplates what to do, as he returns from Russia to his homeland. He writes:

"I went out from my room and looked over at Mqinvari, which they call Mount Kazbek. There is something noble about Mqinvari. Truly can it say: the heavens are my head-dress and the earth my slippers. It rose in the azure sky, white and serene. Great is it, calm and peaceful, but it is cold and white. Its appearance makes me wonder but doesn't move me, it chills me and does not warm me — in a word it is Mqinvari /frozen/. Mqinvari with all its grandeur is to be admired but not to be loved. And what do I want with its greatness. The world's hum, the world's whirlwind and breezes, the world's ill or weal makes not even a nerve in his lofty brow twitch. Although his base stands on mother earth his head rests: in heaven; it is isolated; inaccessible. I do not like such height nor such isolation nor such inaccessibility." This is Baghra's life in a nutshell. Not bothering to engage, standing still, isolated for centuries. Her connection to making at the heart of the world, her gift, her life, wasted.

Aleksander is different. He's constantly in danger, he is dangerous but in a different way, he stumbles, crashes, redefines himself, pushes forward no matter what to achieve his goal. -

"Thank God for the desperate, mad, furious, obstinate, disobedient muddy river Terek! Leaping from the black rock's heart he goes roaring and shouting on his way. I love his noisy murmur, its hurried struggle, grumbling and lamentation. The river is the image of human awakened life, it is a face mobile and worth knowing.

Stand still but a little while and dost thou not turn into a stinking pool and does not this fearsome roar of thine change to the croaking of frogs! It is movement and only movement, my Terek, which gives to the world its might and life."

I hope we can all understand this metaphor and what it stands for, I believe I have explained enough.

[scifrey]

Cling Fast: Chapter One

by Loysark

The Sandman (Netflix with some sprinkling of comics canon and Gaimanverse) Dreamling (Hob Gadling x Dream of the Endless | Morpheus) Unfinished PG-13 (for now) Unbeta’d

*

One Year Later

The problem with Hob Gadling is that–and he will admit to this–he really is a bit clingy.

Always has been.

And sometimes it bites him straight in the arse.

It worked out in his favor in his mortal life. He clung to hope and good hygiene during the Black Death, surviving his mother and siblings, however horrific it was to bury them all. He clung to optimism and discipline on the battlefields of Burgundy, making it out alive when so many others did not. He clung to his conviction that death was stupid and could be simply ignored in the face of the two strange nobles who had challenged him while out for a strongbeer with the lads, and he clung to hope that he hadn't condemned himself once he realized he'd stopped aging.

Hob clings to his humanity, reveling in its triumphs great and small, and mourning in its tragedies. (Especially those of his own making, in which case he clung to those lessons and his grim determination to make reparations and keep himself from falling into such greedy, cruel indifference ever again.)

Child-like, Hob clings to laughter and love, delights in the joys and the people around him. He clings to friendship, refusing to let himself grow bitter and detached from his fellow man. He clings to the comforts of good food, good ale, good people of all and any genders to swive, and clings to his personally-appointed responsibility to ensure those around him have the opportunity and freedom to do the same.

(There are no unhoused and desperate people in Hob's little kingdom of derelict historical sites and spacious parks. The minute he is made aware of a squatter, that person is offered a room above the Inn, a job in the kitchen, fresh clothing and medical care in whatever capacity is required. Addiction and despair are a hell of thing, and Hob knows that first hand.

He clings to the tenants of dignity and kindness, and though his catholic faith has been shaken and worn thin, he still believes in most of the commandments. He strives to treat those around him the way he would have wanted to be treated when he was the one begging on the streets. As for the others, well. Sacrilegious as it may be, Hob now worships another god above the Christian one, in all the profane mundanity of the Inn.)

And of course, Hob had clung to the faith that his Stranger would be there at the White Horse, waiting for him at the end of every century like a feast after a hard day's toil in the fields of life. Even when the Stranger swanned away in the rain in 1889, like the great dramatic ponce that he is, Hob had always clung hard to the desperate wish to see him again.

 He'd even clung to the aspiration that he'd somehow, someday, make his Stranger want to stay.

(He'd succeeded in that one, too, though it took longer than Hob thought it would.)

Hob Gadling also clings to his name.

Which, with the wisdom of six centuries and a very pointed email from a script coordinator at BBC Two behind him, was a very silly thing to do.

If science fiction movies had existed in 1389, Hob might have learned sooner that using his own name (or some variation thereof) over, and over, and over again was probably a bad idea. And if not a bad idea, then at least a supremely sentimental and foolish one. But they hadn't.

In 1489, after the relief of learning that he hadn’t sold his soul to the Devil, Hob was struck with the wonder and awe of learning that he could have another century, if he wanted it (like plucking an apple from a tree, just there, easy as anything to just keep on not dying.) And then he was then struck with the horror of the realization that he was going to have to move. To leave.

He could not remain, unchanging, in one place. It was not safe. Already he was talked of, avoided, turned away from places he'd known if he returned to them too often. Caxton's shop gave him reason to remain in London for long stretches of time, but he returned to Essex to tend to his family's graves perhaps too often, and too close together. 

There were people yet alive whose parents remembered Hob from their own childhoods. Unchanging Hob. Cursed Hob.

But how could he stay away?

His mother and father were buried there. All of his sisters, and their husbands, and their children, and their children. His little brother John, who had coined his nickname because he hadn’t been able to form his ‘r’s yet, and had died of blood poisoning brought on by an inflamed cut before the boy had learned how to say Hob's name correctly. John was buried under a tree that Hob made sure still thrived to this day, planted from the pips of the apple John had been eating the day he'd given himself the gash playing with their father's scythe.

And the thought of giving up his name, the name that was in parish register, the name of the people he'd once called family, the name that was on gravestones that he meticulously cleaned once a decade, the name that lingered on the map as a single crossroads in the middle of nowhere outside of Maldon that nobody remembered used to have a little cottage by the side of it, the name that only his Stranger spoke anymore…

Well.

That wasn't something Hob was capable of doing. 

Hob wanted to know who he was. 

He changed year after year, century after century, and the world changed with him. The only thing that stayed the same, amid all the advances, amid all the handkerchiefs and chimneys and playing cards and playwrights and iron works and steamships and personal computers, was his name. His only constant.

It was the only thing he still had.

He couldn't give it up.

Clingy.

And that's how the television historians find him.

*

“I’m not doing it,” Hob tells Morpheus. The King of Dreams and Nightmares is squinting at Hob's phone, which Hob had thrust into a face with a Here! Read this! as soon as the being had seated himself for their weekly conversation.

They're outside today, the weather sunny without being glaring, and warm without being too hot. They're outside today, the weather sunny without being glaring, and warm without being too hot. Somehow, some spindly Forsythia's broken through the gravel drive in the corner of the Inn closest to their table, though Hob doesn't remember planting it. Maybe it was someone from the horticultural society—he wouldn't put it past them to do some guerilla planting, they're always dropping hints about his window boxes. Doesn't matter, the yellow looks good as a background for Morpheus' goth twink look, he'll keep it.

It's too early in the day for most of The New Inn's afternoon patrons, so they've got the front garden of the Inn to themselves for now. Hob has maneuvered Morpheus so he's sitting in the shade of one of the umbrellas. He may be a powerful eldritch celestial being, but Hob has learned that his nose can burn just as easily as any human with the same complexion.

The bonus of being seated outside means that Matthew can join them. The raven is currently on Morpheus' shoulder, running one beady black eye over the text of the email alongside his king.

Hob watches Morpheus' face for any indication that he agrees with Hob, that this is a spectacularly bad idea.This might even be a situation so bad that Hob has to fake his own death and move on sooner than he'd wanted to.

He'd rather not. He likes The New Inn, he's proud of what he's built in this community, he doesn't want to go anywhere. He's already seeding the idea of a nephew that Dennis hasn't met yet, but who would be just the right age to inherit his uncle's business ventures in a decade or two. If he has to leave now, it would screw up everything.

Morpheus doesn't seem inclined to comment until he's both read and digested the email Hob shared with him, so Hob busies himself with fussing off inside to the bar to pour his own pint. One of the perks of owning the place. Besides, Dennis is busy with training a new server, and Hob is the only one allowed to touch Morpheus' wine, anyway.

He returns to the table with an ale for himself, bowl of unsalted peanuts and a pint glass of water for Matthew, and the sweet vinsanto from Santorini that Hob had imported specifically for his friend, much to both Dennis' and Hob's savings account's mutual disgust. Dennis, because it cost an arm and a leg and he wasn't allowed to sell it to the snobby city boys trying to impress their dates, and Hob's savings account because it cost an arm and a leg.

And Hob should know how much that actually cost, because he once paid for a full-length portrait of himself that included not just an arm and a leg, but two of each, and those of his grown son Robyn besides. Hob doesn't have to wonder where that portrait is right now, because according to the obnoxious email it's apparently back in Gadlen House, which the National Trust was allowing the production team to use for the filming. The portrait had 'gone missing' after Hob had been drowned, and located again in the 1950s among a stash of art a group of on-the-run former Nazis had been trying to offload on the black market.

Hob had been sorely tempted to steal it back for himself when he'd seen the news of the discovery in the paper. But by then he'd been living in a pokey little flat in one of the newly rebuilt parts of London, with no way to restore or properly preserve the painting. Though it pained him, he let it go to the National Portrait gallery, where—after several years of being locked away in a basement for a thorough cleaning—Hob had shuffled along in the line tourists to catch a glimpse of his son's face for the first time in three hundred and forty-six years.

And if he then spent the next two hours weeping on the back steps of Canada House, well, it's not like anyone alive to witness his despair at the time was still alive to tell of it now.

He hasn't been back to look at it since. 

He won't be able to avoid it, though, not if he says yes to the plea to join the costumed cast of experts already signed onto Elizabethan Manor House. Which he has no intention of doing.

"It's mad," Hob says when Morpheus finally sets down his phone and takes a contemplative sip of wine. "And it's infuriating besides. I'm not ready to cut this life short. I just hammered out a book deal that should help me get access to research fellows who can influence policy for—" he gestures down the park, at the construction fencing blocking off the degrading shell of The White Horse.

Morpheus flicks an eyebrow at Hob, and he takes it for the challenge the Endless means it to be.

“Oh, come on! Captured or killed, you said, and look,” Hob cuts his hand at Morpheus in demonstration. He doesn’t need to say it. They both know what he’s referring to. “Tell me this is a supremely bad idea.”

"If you really thought it was a bad idea, Hob, you would not be entreating me to confirm it."

Blast. Got me there.

"I dunno, Hobsie, I think it's kinda nifty," Matthew says, hopping down onto the table to help himself to the bowl of peanuts.

"Nifty?" Hob echoes, aghast at the raven's choice of word. "I think it's a way to end up in a lab being experimented on for the rest of eternity."

"Look, speaking as a former human," Matthew offers, "We're pretty damn dumb sometimes. If you walk in there and tell 'em that what they think is true is true, then why would they have any reason to think otherwise?"

"Occam's razor," Morpheus agrees. "They will believe you are the fifteen-times great-nephew of Sir Robert Gadlen the Third because you will confirm it is so. There is no reason for anyone to believe otherwise."

"So wait, hold on—you're encouraging me to do this?" Hob asks.

"Yeah! Imagine, our boy on TV!" Matthew caws, stretching his wings in a very human gesture like punching the air. "You're gonna be a star, baby!"

Hob snorts into his pint. "It's an educational docudrama about life in a manor house in Elizabethan England. Henrietta Butler and Glenn Davies make one of these every year. They film it all in a few months and change up the greenery and clothing to make it seem like time is passing, and pretend they've been living in the past for a full year. It's not a Hollywood blockbuster."

"Not yet," Matthew insists. "But some casting director's gonna see your natural charisma on camera, and scout you, and then bam!"

"You just want me to do movies so you have an excuse to hang around the sets," Hob teases the raven.

Matthew puffs up like a soot sprite and pointedly sticks his beak into the water glass so he doesn't have to answer.

"I for one find these programs enchanting," Morpheus offers. "The inspiration they provide Dreamers is wonderful, and the stories they return to the public consciousness thrive once more. They breathe new life into old tales, and restore Lucienne's books at the same time."

"Yeah, but does that mean it has to be me who does it?" Hob asks softly, spinning his half-filled class in circles between his fingers. "I'm sure they can find some other expert in Medieval and Elizabethan domestic history with, you know, dark eyes and a cleft chin."

Morpheus tilts his head like a bird, curious. "And would you be happy with that, Hob? If they hired someone else to play you in the story of your own life?"

Hob sighs. Morpheus has hit the nail on the head.

Clingy bastard that he is, Hob doesn't want someone else wearing clothes approximating his favorite gold-and-black double, to look into a camera and talk about Eleanor, and Robyn, and poor lifeless wee John as if he had any right to speak of Hob's life and loves like they were his own. He doesn't want them to film in his house, and talk about the way things used to be, and get it wrong. He doesn't want interpreters to, well, interpret.

He wants to share the truth.

Once upon a time, Gadlen House had been what Hob had envisioned Heaven to be. For nearly a century, his life was everything he'd ever wanted, the fulfillment of every dream he'd ever clung to. There was plenty of light, and warmth, and laughter, and dancing. There was more food than he could ever eat, more alcohol than he could ever drink alone, more comfort and fine clothing than he'd ever dreamed of while he was burying his little brother in a peasant churchyard.

Gadlen House held his own private paradise within its walls.

And, he knew now, he had erroneously thought that it was all that his Stranger would judge him on as well. He thought his continued immortality was contingent on living well, and back then he had misunderstood that to mean material wealth, the flamboyance of his successes, and the vigorousness of his family life.

He’d learned in the last year that Morpheus wasn’t judging him at all, had no opinion of his choices and what he did with his life outside of what caused other Dreamers to suffer, and what he did in the world meant nothing to the King of Dreams and Nightmares. There was no mistake Hob could make that would strip him of his Stranger’s gift, though he hadn’t known it.

There was, however, things that Hob could do to make his companion more or less likely to want to spend time in his company. Like the contents of his heart and the kindness of his influence in the world, and the good and generous things he put out into it—

He’d been a boor. Looking back, he can see it. His behavior, as the youth in his survey courses would call it, had been "super cringey" at their 1589 meeting. He'd only cared about showing off, and very little about his table manners besides. He doesn't blame Morpheus for being repulsed.

And the idea that Hob is being offered the chance to rewrite that memory a little, that appeals.

Robert Gadelin the Third was more than he had shown himself to be at the White Horse that night. And he wants Morpheus to know that. Wants Morpheus to see. (And yeah, okay, millions of viewers all over the U.K. too, if he has to).

Hob hadn’t been just brash self congratulations, and talking with his mouth full, and throwing gold at his problems. 

He'd been a good and doting father; he'd been a devoted and generously loving husband. He'd read Robyn stories and took him riding. He'd lounged in the solar listening to Eleanor play her lute, and danced with her even when it was unfashionable to dance so much time with one's own wife at a party. He pulled her into dark corners and behind curtains to lavish his love upon her lovely plump curves every chance he got. He’d spent a lot of time with his head up her dress to make her sigh and laugh, or in her lap listening to her accounts of her day. He'd been a fair and thoughtful master, giving his staff the freedom to speak to him,, to be honest about their problems and his own failings, to feel safe enough to entrust themselves to his care, and humble and proactive enough to live up to it.

He'd loved life, and he'd loved his wife, and he'd loved his son, and he'd taken his role as patriarch and patron seriously.

And the world deserves to see that side of the man who anybody who toured Gadlen House know only knew as the Witch Knight who'd been drowned for his attempts to defy God and rebel against the natural order of the world.

Hob wants to see if he can find the little toy duck he'd carved, which used to be pulled along on a string behind his son. He thinks he left it in a chest of things Eleanor had set aside for the new baby—leftover clothes from Robyn, little socks, and tiny bonnets, along with the little golden rattle that the queen had gifted Eleanor when she'd visited the summer Eleanor had been gravid. He wants to crawl along the floorboards and see if the skirting panel in his bedroom still comes loose, see if his sword from Agincourt is still hidden in the wall, and discover what state it's in. He wants to hold the hairbrush that he used to wield in the evenings to smooth out his wife's hair, hold it to his face and try to catch a whiff of the rosemary oil that she would use on  wash day.

He wants sit in his chair by the fire in the withdrawing room, and close his eyes, and hear the crackle of the wood, the soft murmur of the servants in the back passages, the laughter of Robyn as the boy learns to walk, learns to sing, learns to read, learns to fence, and ride, and fight, and tell him he's off for a cheeky bit of revelry with a local chit down the tavern—

He doesn't at all want to do any of that with a camera trained on him.

"I'll tell everyone what a hack Shaxbeard was," is how Hob admits that he's starting to give ground to the idea.

"You can try," Morpheus replies with a smirk.

This is now their weekly game. Hob actually doesn't mind the plays the man wrote, especially once he learned that the stories themselves came from Morpheus. What he does resent is that old Billy Boy is remembered as a genius, when all he really was, to Hob's mind, was the hand that held the quill and wrote down what the King of Dreams whispered in his ear. And so they play tug-of-war over the man, teasing all the way.

"What if someone figures it out? What do I do then?"

"They won't," Matthew croaks.

"But what if they do? The world is different now, in little ways. I grew up believing in angels and demons, and, you know, God–” here he gestures ironically at Morpheus, who nods magnanimously with wry humor. “And it turns out they're real." 

Hob's since done business with or provided favors to several of Lady Constantine's descendants. And like any good immortal, he pays attention when there are rumors of another like him around. He's met The Bookseller of Soho, and even traded him a few rare first editions when he was looking to fund purchase of the White Horse. Hob thinks he may be fae, with that thistledown hair, but he can't prove it.

"My point is," Hob presses on, "The world is getting stranger and frankly, an immortal human may not be the first thing people think of but the stuff in the shadows is being exposed more and more these days. Nobody seems to remember the kraken rising from the deep, and the rain of fish, and the rising and re-sinking of Atlantis two years ago–”

“The what!?” Matthew asks. “I was human then, I don’t–!”

“The apocalypse that then wasn’t, yes,” Morpheus murmurs. “You are among the few who recall, Hob, because you are Touched by the Endless.”

Hob squints at Matthew, waiting for the raven to make a Touched by an Angel joke, but the bird seem to be too busy having an existential crisis over the world not ending. He’s muttering under his wing.

“Point is,” Hob goes on. “If I slip up, if I give too much away, somebody may actually believe it. The wrong somebody."

"How is this then: I promise to attend the thoughts and dreams of the cast and crew carefully. And if one should begin to presume more than they ought, I will unmake the dream."

Hob sighs and tugs at his ear nervously. Then he reaches out for Morpheus's hand. They have an unspoken agreement, now, to request and offer touch when one or the other of them is feeling unsettled. Morpheus curls his fingers around Hob's, and Hob feels his heart settling.

"I'd feel better knowing you had my back, yeah."

"Then it is done," Morpheus pronounces in that way of his that always makes it sound like Hob's made a deal at a crossroads.

"It is done, I guess," Hob echoes.

Matthew hops up to his shoulder to preen at Hob's hair teasingly. "Next stop, the big screen!"

"Well, the small one at least. Why did you want me to do this so much?" Hob asks. 

"You dream of them," Morpheus says, and he doesn't have to add still because of course, still.

It doesn't sound like envy. At least, Hob doesn't think Morpheus is envious that Hob still dreams of lost loved ones. He spends plenty of time with Morpheus—more properly, with Dream—in the Dreaming. There's nothing to be envious of.

All the same, Hob's heart kicks in his throat, and he washes back down with a swig of beer. Matthew's preening becomes gentle and comforting. "Eleanor and wee John, and Robyn?"

"Yes. But the others as well."

"Others?" For a moment Hob is baffled, but then, with a little mortified jolt, he realizes Morpheus is talking about all of his past lovers. "Oh, Richard and, um, Isabella and…" he trails off, realizing that the being across from him may not want to be subjected to a list of his… indulgences.

"Oliver. Miranda. Francesca. Thomas. Agnes. Amanda. Emila. Elizabeth. Caterina. Saoirse—"

"Who's Saoirse?"

"The redhead in New York, 1906. She had the room above—"

"I remember!" Hob yelps, waving Matthew away as the raven chortles with laddish amusement. "God's wounds, no need to itemize every fuck I've ever had, jesu maria."

A little shit-eating smirk passes fleetingly across the corner of Morpheus' mouth. He's doing it on purpose. Twat.

"Would you not like the chance for closure, Hob Gadling?" Morpheus asks slowly. "Many Dreamers find ease to their grief after dreams of saying goodbye to their loved ones."

"I don't need to go to the House for that. They won't be there," Hob says. "That's the problem."

"Their stories remain."

"Their ghosts, more like," Hob says bitterly. He drains the dregs of his pint and wonders if it's more assholeish to abandon Morpheus to go pour himself another, or to text Dennis and tell the new kid to bring him one.

Morpheus shifts and squeezes their joined hands to keep his attention. "No. My sister greeted them both with all the warmth and kindness she bestows upon mortals, and led them gently to the Sunless Lands. You will find no restless, unhappy shades at Gadlen House, if that is what you fear."

Hob's throat tightens at the unexpected assurance that his family is in Paradise. That his selfish begging prayers for them to stay, to not go, to don't do this, to don't leave me here alone were, in the end, unheeded.

"But the stories remain. The wrong ones. Eleanor, and Robyn, and wee John… do you not think that they deserve to be more than just the tale of how they died? Don't you think their story deserves to celebrate how they lived? And do you not think that you deserve to be more than just the drowned Witch Knight?"

Which is just… such a low blow that Hob only barely resists the urge to kick him under the table. 

“Fine,” Hob says, letting go of Morpheus to throw his hands up to the skies, to plead with Mother Night and Father Time to see what he puts up with in their son and his familiar. "Fine! I'm convinced. You can stop bullying me now. Give me back my phone, I have an email to send."

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[themightymoose]

(maybe one day I will have enough brain capacity to make more than one meme at a time)

So anyway, my turn to throw some angsty Vinnie thought at you :) to be completely honest, many of them are similar to your Pepper angst, so I might just be repeating what you said but in Vinnie context

Cause I might be biased, in fact I definitely am, but you already know my stance on Vinnie's mistreatment let's call it by making him dumb as hell and a punching bag. Which while bad in itself, my angst loving heart kinda relishes in it, not gonna lie. Arguably, he receives the biggest number of insults throughout the show, to the point it's just there, not much attention being brought to it, it's just there for jokes with Vinnie himself barely reacting to them.

But of course, I'm inclided to think he would in fact have thoughts about it, negative ones, ofc. Cause I can believe that he's just chill like that and doesn't care much what others thing about him, even if it's purely negative. Well, I can believe tthat, to a point. Hear me out. He has his limit somewhered, at one point, perhaps sooner than anyone would expect, this really starts to hurt and eating at his self-esteem. I mean, how could it not? Not only is he constantly berated but also almost never complimented or appreciated (Need I even remind the whole Vinnie goes missing vs Sunil goes missing). Of course his self-esteem is basically non-existent. Though of course he wouldn't show it, not outwards, and not to himself, he doesn't want to admit even to himself that he's hurt.

He's not supposed to be after all, right? He's the chill one, easy-going, not caring about anyone's opinion about him, someone to laugh at and make a scapegoat whenever needed even if just for a bit of amusement. All that naturally fueled his self-hatred, because genuinely, how could it have not? So as much as those insults hurt, he expects them, it's a constant for him, maybe that's why he doesn't seemingly react to them much, because his brain is already telling him that he's stupid, talentless, unwanted etc etc. Quite frankly I'm surprised he doesn't have social anxiety by now, cause how do you get yourself together when your literal friends fuel your self-hatred?

And there's that fear of abandonment. Cause where the hell does he go if they leave him? Being alone is scary, because if he is that stupid then how is he gonna survive without being on friendly terms with smarter individuals? Besides, he loves them, he really does. If being treated like garbage ensures they stay even if just because he gets them something to be amused by and laught at, then he accepts being treated like that. Maybe they're right, maybe he's really not good at anything and they simply keep him around for that amusement and pity, and what if nobody besides them wants that amusement? He'd be alone.

Or something haha ha haa...

part 1 out of ∞ because I love pretty much any possible angst for him

I almost deleted this on accident that could've been dangerous 💀

Anyways YES!!!! I love it!!! I eat up any angst for the pets honestly (just some more than others) and this Vinnie angst is just ✨chef's kiss✨

Yeah, these are pretty similar to my Pepper angst. We just want to see our faves suffer is that so wrong?

I'm not spoiling too much of what I have planned for my LPS but ✨angsty✨ series, but I am definitely going to give Vinnie much better treatment (and the boys in general because oof)

[south-sea]

Gimme Aruna's love language. You can't just say "And if you really want to make my day ask about Aruna" in the tags of your nov 18th post and leave me hanging.

i had to go digging for it but anon is referring to an old ask game post

that tag was more of a general anything-goes for aruna asks but rolling up sleeves alright let's tackle arguably one of the most difficult (delighted)

it's tricky because as a mobian, this guy is ~15+ years out of context, and 13 of those years were spent under circumstances that left him empty and just trying to survive (again, but worse). even in a kinder setting now with a new community and support system, he doesn't really act out of love so much as habitual responsibility.

he cares for the settlement he's taken up residence in and the people in it, and certainly some of that care is more personal on an individual level than others, but he doesn't view it as "love". he does those things because that's just what you're supposed to do? it's the same as how he'd act in his capacity as black doom way back when with his hive, just with slightly more emotional distance. a lot of what he does is ultimately still self-serving.

he helps build up this settlement and the people in it not because he wants to see it specifically succeed, or see them thrive, but because he lives there. but he's also not doing it just because he lives there and wants a safe place to live/for the people to feel compelled to treat him well. and while that's definitely how it started--he had to learn new etiquette rules and such to fit in and be more generally likeable enough for them to accept him--he still lacks a certain emotional investment in them.

like, yeah, it's love in the most basic sense, but it's hard to articulate why it's also not? they're his people now, in a sense, and he knows he belongs there, and recognizes when they show him love, but for his part he's just operating normally. he can't just be a freeloader or treat them like he's their leader instead. that's not how things work here. and besides, he'd go crazy without anything to do anyway. so like i said; most of what he does is still self-serving at its core. he just balances that and acts in such a way that it benefits more than just himself.

he lacks empathy and is selfish, but not in a way that damages others--and ensuring he keeps that balance is deliberate for the sake of staying in people's good graces. it is the literal definition of manipulative, but he's not doing it out of malice (anymore). he just wants to raise his chance of survival. he has nothing to live for but himself and the memory of his people.

in the present, if you shove all of that aside, and squint really hard past his barrier of invulnerability and neutrality, he shows it to specific individuals the most in what he lets them get away with. he hates being touched. is not very gentle or soft or kind in how he speaks. but he can be patient, and affords people close to him (especially children) some of his learned softness. he lets these chosen people hold his hand (even if he doesn't understand why) or hug him for their own sake (even if he's not particularly keen on the idea) or talks them down from anxiety or an upset (even if he is so, so bad at empathy and lacks the type of experiences that would help him navigate delicate situations).

back when he was still just regular black doom with a hive is different, though. i should preface this with the fact i write the black arms, especially in the context of aruna's hive, very differently from canon; they were all individuals with their own culture, and the hivemind was more of a shared telepathy ability rather than ant-like.

he was not overly-affectionate or outwardly sentimental, but he loved them all dearly in his own way, and it showed in subtleties. he was their leader, yes but they were everything to him. he would forego meals if it meant feeding a youngling instead. wore rings of the fallen and cycled them out with the most recently-lost to honor their memory. allowed younglings to get a bit clingy even though he hated being touched even back then. helped raise a lot of them, mourned the loss of the adults with the culture-appropriate equivalent of funeral, never forgot a single one of them, kept their stories alive until he no longer could.

all he has left are scraps and a monument the present-day settlement helped build. but he respects the settlement and acknowledges himself as one of theirs enough to integrate some of their funeral rites with his own due to being unable to put what remains of his kind to rest in the way he normally would.

[ashcadence]

My therapist made me realize something that I feel very guilty about and is probably where a lot of that feeling comes from

Which is not paying attention to my younger brother when we were kids (older sibling guilt. gotta love that)

He was completely forgotten about by our parents, and he actively holds that against them

I talked to him about it, and he doesn't hold the fact I didn't pay attention to him against me because I was taking the brunt force of our parents and trying to survive them. He knew, even back then, I would do anything for him, and was trying to protect him. We both were, and still are, trying to survive a shitty situation until we get the funds to move out

At least I know he doesn't hold it against me. Looking back I feel like I should've done more to ensure he was okay, but like he said, I was taking the brunt force of our parents. I didn't have the emotional capacity to ensure his well-being at the time

But now I do, and we're trying our hardest to support each other because we really have nobody else besides each other

[marshmallowprotection]

Honestly, on random thoughts that plague me at 1 AM: how is Unknown dealing with an Mc he kidnapped that needs some sort of medication or treatment of some kind for something chronic? He definitely would know about the Mc’s condition(s) before hand, but as they’re kidnapped more on a quick “uh oh” type situation without much thought….it’s like, Unknown buddy can you please run to my house and bring me my meds. First drawer on the left of the upstairs bathroom- or it’s over for both of us.

Unknown needs you to be at full capacity. Sure, he's not exactly happy that you're making him go to extra lengths to ensure that nobody finds out about what he's doing, but he can't leave you without being able to function.

If he wants to have an assistant that can do everything that he needs to do without complaint, he would have to make sure that you have all of your medication. He may be an asshole but he is not a monster. So, you don't need to worry about that, he would've already gone to the trouble and figured out what you need. I wouldn't put it past him to have snuck into your place to take what you needed. It's unlikely he will let you have anything else, but you can get your medication.

I think it would be out of character for him to not be considerate to somebody with a health condition. He spent his entire childhood being sick and out of his mind because nobody would get him medication or the things that he needed. So, it would be weird for him to not make sure that people have what they need. That may come as a surprise to some people because there are people who characterized him as somebody who doesn't give a fuck!

But, he has to make sure his plans work out even if there’s a rock thrown in his path. He may be a bad guy but he's not going to let you suffer like that without something you need to survive. Who knows where he would be if he didn't have a way to fight off his migraines and headaches from working himself sick? So, no, don't worry about him not giving you something you need. You'll get your medication. He is surprisingly helpful for a kidnapper.

Don't assume he's nice about it, though. He will grumble and complain but that's just how he is. Make yourself useful once you have your medication. He expects a lot from you since you failed to listen the first time.

[flickeringart]

Neptune in aspect with Jupiter, Saturn, Uranus, Pluto and Chiron

(Read my other posts 1: Neptune aspecting Sun & Moon, 2: Neptune aspecting Mercury & Venus, 3: Neptune aspecting Mars)

It is always difficult to interpret aspects of generational planets to other generational planets because they are such big forces and encompasses such broad complexity that it would take a genius to accurately convey their impact through the Mercurial function; verbal and written communication. The social and collective planets are describing the bigger picture of what is going on a societal and global scale – but they do matter in the personal natal chart because they indicate the overall collective climate that one was born into and will inevitably color the personal life experience. When I refer to “collective tendencies” in describing these aspects I’m therefore also referring to “personal tendencies”.

Neptune in aspect with Jupiter

With the harmonious aspects this would translate into a time of deep collective faith and belief in the transience of the world as well as a faith in the ability to be redeemed through the correct attitude and positive expectations. This is a typical aspect of “follow your heart and your dreams” which is often considered extremely naïve by more “realistic” people. With this aspect forming at a point in time, there’s a greater collective tendency to take chances and put one’s luck in the hands of the universe. This aspect lends itself to big dreams and visions, a freedom to pursue spirituality and let go of inhibitions, to pursue freedom with complete abandon of boundaries, to enjoy culture and contribute to it in order to feel closer to the divine. In case of the hard aspects, belief systems may be dissolving and reconstructed, the future might seem obscure; the erosion of culture and lost sense purpose might cause people to pursue religion or spiritual doctrine more vigorously than ever. People could attempt to escape from it all through distraction and dissociation, to cling to illusions in order to cope, or take to drugs in order to numb the sense of meaninglessness and desperation that permeates the social-societal fabric. The hard aspects could indicate disillusionment and disappointment in religious doctrine, an abandonment of belief and collective spirit. People could feel betrayed and deceived by thought leaders and visionaries leading them astray instead of enriching their lives. In any case, these two planets together combine the yearning for something sacred and transcendent with the symbolic expressions of meaning in culture and social life.

Neptune in aspect with Saturn

With the harmonious aspects this combination of planets, the collective might try to create a system of protection for the less fortunate, to provide a container for the unformed and passive souls that are helpless in the face of existence. It might also lend itself to collective fantasies of the ideal state with an ideal structure. Hard work and duty might be glorified and seen as the height of goodness. There could even be a great sense of bliss in restricting and depriving in order to chip away at a distant goal. It could also mean that there’s romanticizing and mythologizing of authority, a deep need to idealize paternal figureheads and put faith in tradition. This aspect forming at a specific point in time could generate a tendency to expect to be taken care of by society, for the powers that be to provide and coddle its citizens. There could be an expectancy to be redeemed through putting noses to the grindstone and get rewarded in this (or the next) life for doing the right thing, for believing in the system. With the harmonious aspects this might not be such a disastrous preconception to live by but with the harder aspect it becomes another story. With the hard aspects, Neptune-Saturn might express ad deep guilt and regret in not pursuing worldly goals or becoming successful – there could likewise be a sadness of not being receptive enough to have dreams and longings because of too much realism. There might be great defensiveness collectively against chaos as to make people paranoid to not loose control. Counter to what is desired; this fear might cause more disorder and a collapse of defense systems through the very effort of keeping them intact. Saturn has to do with boundaries and Neptune has to do with dissolution, which might indicate collective experiences of trying to keep things in but being unable to. Avoiding the “swamp” whatever form it comes in, would be the dilemma of these people’s lives and for the greater collective at this specific point in time. Escaping responsibility causes guilt and disorder and taking responsibility will cause guilt and disorder, whether it’s mental or physical or both. There’s dysfunction present at both ends. There would possibly be an undermining of authority taking place and simultaneously a stronger defensiveness around authority in order to not fall prey to the temptation of chaos.

Neptune in aspect with Uranus

With the harmonious aspects, this set of planets will combine themselves to create a common experience of looking to the future for redemption. That which is new is idealized and welcomed with open arms – change might seem like an appealing concept. Dreams of a utopian society where every individual is accepted and harmoniously coexisting without the necessity of rigid rules and structure might be prevalent. Faith in humanity and its capacity for genius to solve all its problems might come with this planetary contact. In fact, Neptune is sextile Uranus at this point in time, pointing to a longing for change and the opportunity to create something new that saves humanity from the “dark” past and elevates it to new heights of spiritual and scientific excellence. This is a highly idealistic combo that can produce genius solutions that are in line with the yearnings of the collective. The hard aspects can create tremendous despair and incapacity to pursue progress, without feeling like there’s an abandonment of the potential for redemption. These are the aspects that will sabotage any new endeavor and model in favor of remaining in a state of nebulous undifferentiated potential. New discoveries and insights made during the time of the hard aspects might produce great hurt and disillusionment in the collective. The new discoveries will seem to threaten that which is perceived as pure and sacred, the romantic ideals of humanity will be crushed in favor of breaking free from the limits of the status quo. The collective might polarize into people who want to jump on the band wagon of more advanced thought and the people who can’t abandon the “way things are” because of sentimentality and feeling ties. Either way, with the hard aspects there will be a conflict of the glamorous, timeless and bittersweet and the push to break out of the confines of old society. Neptune often symbolizes the urge to regress or transcend to reach a state of unity; Uranus symbolizes radical rebellion and revolution. With the hard aspects, there’s no way to have both. Uranus is too aggressive and might push people into emotional chaos, Neptune is too receptive and might consume and confuse people as to what is really going on in terms of thought advancement to ever come outside of their current mental framework.

(Buy products with my art) 

Neptune in aspect with Pluto

With the harmonious aspects, the Neptune-Pluto dynamic expresses itself through experience of unity through crisis. This might sound scary, but Pluto is after all representative of destruction and rebirth. With this aspect the collective longing for redemption stimulates the impulse to protect something that is necessary for survival. At this point in time Neptune is sextile Pluto, which makes sense considering the state of the world we’re in at the moment. There’s a sense of a need for survival in order to be able to guarantee a blissful destiny of humanity. The collective feeling tone is certainly categorized by fear and paranoia at this time, but also of greater oneness because the whole world is going through this pandemic. With the Neptune-Pluto sextile there’s a need for drastic measures in order to survive the pressure that is felt. The way to Eden is through the darkness. Pluto is in Capricorn, which suggests the desire to protect and control the structure of society at all costs – hard work and endurance is necessary for survival on a collective level. To ensure integrity of the building blocks of society becomes more important than anything else.

With the hard aspects between these planets, the picture becomes less appealing. The urge to merge and retreat into the world of pre/post existence to find healing and peace inevitably causes chaos and violent destruction. The collective would find that the fear and pressure that is experienced is too much to handle. Taking control and exercising power destroys all the hope of beauty and love in the world. This aspect could indicate a time of heart-breaking vulnerability and a lot of fear and need to escape into a dream of how things could be. People born around the years of 1814-1822 seem to have Neptune square Pluto in their charts if you look it up on astrotheme.com. These people would’ve been born into a collective climate of hopelessness and despair to some extent, of power wielded over the weak. There would’ve been a necessity to surrender to the threat of death, to accept the unacceptable and either give up power or use it at the expense of sensitivity and compassion. Karl Marx is a good example of an individual with the square aspect because it falls across two angular houses, Pluto in the 1st  house of self and Neptune in the 10thhouse of public image. The conflict between Neptune-Pluto is consequently evident in his persona. Publicly he’s known for his ideas about how the ideal society should be run (Neptune conjunct Uranus in the 10th). He argued that class tension and antagonism that developed under capitalism was unsustainable – the ruling classes controlling the means of production and the working class offering their labor in exchange for wages would not work in the long run in his opinion. The working class would eventually develop class-consciousness and conquer political power to establish a classless communist society. In this case, Neptune symbolizes the working class and Pluto the ruling class - in Marx’s experience these were at odds with each other (as reflected in his chart). His opinions certainly came from his inner personal tension of needing to identify as powerful (Pluto 1st house) and to offer a recipe of redemption as a part of his life’s work (Neptune in the 10th). I’m sure he felt powerful in himself, yet despairingly at loss when having to contribute to society. Undoubtedly, he felt like he had to give up his power to serve at the feet of the ruling class, to “give himself up”, like Neptune often nudges us to.

Neptune in aspect with Chiron

The harmonious aspects would translate into a peak experience through suffering, a sense of being touched by the sublime through the unintended infliction of pain, whether it’s physical or psychological. Redemption is inextricably linked with the misfortunes and wounding that can’t be cured with current scientific method. Suffering is somehow a vehicle for finding a sense of unity with the remainder of life, it makes for a transcendent experiences that allows for ecstatic bliss in conjunction with permanent damage and disability. At the point in time of the aspect’s formation there might be an unusual acceptance and romanticizing of disability, even to the point of elevating it to something divine and sacred. Knowledge and methods of healing are pursued as a means of redemption, a means of returning to Eden. Technique and skill to remedy the wounds of the collective are sought with a deeper emotional hunger. Compassion and unconditional love might be seen as the key component to healing. Artistry, creativity, music, drug use, alcohol, meditation, hypnosis and emotional surrender might be sought in the name of healing. There could be an effort to collectively spread as much knowledge and insight as possible in order to cure a little bit of the ignorance that causes so much trouble in society. Living with a permanent wound unites people, it connects the souls of the world in mutual longing to go “home”, to return to oneness. The wound stimulates a longing for fusion, which might express itself through a deep understanding of people’s suffering. Princess Diana is a perfect example of someone with the trine; she saw the universality of suffering and wasn’t hesitant to shower “love” on people with severe sickness or disability. She saw herself in people’s pain.

The hard aspects are more gruesome, as always. Personal wounds conflict with the need for fusion and a sense of oneness with existence. At the specific point in time of this aspect there might’ve been feelings in the collective of being fundamentally flawed and damaged to ever be redeemed and brought into the light of the eternal. There would’ve been great struggle to save people from irretrievable damage, yet the longing itself could cause more damage and additional feelings of insufficiency. There could’ve been a tendency to cover up the wound, numb it out and avoid looking at it in order to have a chance at something beautiful, pure and elevated. However, the escape and dissociation from it would only make it worse. The resistance to hope would potentially make the healing journey difficult. Great sympathy could be present yet it would be frequently cancelled out by stone cold realism. Chiron is the wounded healer archetype. He uses the mind and his practical skills to cope. When he’s in hard aspect with Neptune there’s going to be tension in the face of the possibility of redemption. It might only be an illusion after all, and the dark abyss of disillusionment is nothing to gamble with– consequently people would stick to the difficult but nonetheless, real, experience of pain in front of them. However when the pain of life becomes too much and one succumbs to the sweet escape through drugs, alcohol, food, tv, spiritual practices or any other method, it might backfire terribly and cause total disintegration and victimization. A good example of someone with the square is Oprah Winfrey with Chiron in the 1sthouse and Neptune in the 10th house. She’s widely known as a person of great compassion and insight – on a public level she embodies the role of the redeemer to some extent. Her identity however is that of someone who’s been wounded yet has come to terms with the burden and has learnt to live with it. She’s generally perceived to be very wise, similar to Chiron in myth. However, in her need to heal people she makes it into a show and molds the narrative to her liking or preference sometimes. She’s deeply compassionate, yet she can also expect people to live with the permanent burden of certain pains. Her Neptune draws the public in – promises redemption, but in person, she expects people to be realistic and strip their issues down without glamorizing or mythologizing.

[snowalwayslandsontop]

Coriolanus listened silently, watching as Sejanus became flustered under his accusation and gaze. He was in no mood to mince his words because they were no longer in the Capitol. They didn't have the protection they had there from repercussions for their actions. Sejanus' father would be able to buy his sons way out of trouble back at home but the same couldn't be said for out here. No one was going to ask Strabo Plinth for permission as they slipped the noose around Sejanus neck, for crimes against the Capitol. They'd just do it before possibly sending a letter to his parents advising that he had been hung for treason. Just the thought made Coriolanus' stomach churn. He wouldn't - couldn't - lose him. Not now. Not as everything was changing between them since they'd been out here in the Districts. "You're not being careful. I've seen you at least three times with them and if I've seen it, so have others. I'm not following you around. I simply see what I see. Half the District would have seen you talking to Billy Taupe and Spruce outside the black market." It was one of the busiest places on a Sunday morning and Sejanus hadn't been there in an official capacity. He sighed softly as Sejanus rested his forehead against his shoulder. He glanced around, ensuring they remained away from prying eyes before he wrapped his arms around him gently. He liked having him this close. Enjoyed the warmth of his body pressed against him.

"What are we doing? We're surviving. Sometimes, that has to be enough. I've been sentenced to a twenty year stay out here and you came out here for me." He could still recall how his heart had leapt when Sejanus had appeared on that train with a huge smile on his face. Any thoughts he'd had of suicide had disappeared instantly. He had been so happy to see him. "You don't owe these people anything Sejanus. They aren't your responsibility and you won't be able to help anyone if you end up dead. Do you really want to risk dying? Do you really want to risk leaving me?" Perhaps it was a manipulative question and yet the thought of losing Sejanus was enough to send him into another panic attack. When he had suggested that he could make a difference, he hadn't meant like this. "I want to go home Sejanus. I want us to go home to the Capitol, together." He knew it wasn't that simple. He needed to find a way to be discharged from serving the nineteen years and four months he had left.

@d2sejanus--plinth sent "I don't know why you're making a big deal out of this." "You don't know why I'm making a big deal about this?" Coriolanus was incredulous, certain that Sejanus must be joking. Yet his friend was looking up at him, seemingly confused or at least pretending to be. "You don't understand why I'm making a big deal about you spending time with known rebels?" He had seen him, yet again, talking to people he shouldn't be down near the black market while they've had leave. This was the third time he ha caught him and who knew how many other times he hadn't seen him? He glanced around them to ensure that no one would overheard this conversation and sure enough, they were still completely alone. "Spruce is a known rebel and Billy Taupe is, at the very least, a sympathiser. They're going to end up in the Hanging Tree sooner rather than later. You want to join them up there Sejanus? Your fathers money won't necessarily save you, not out here. This isn't the Capitol. You're making idiotic decisions because you have misplaced affection for the Districts and the people who are unfortunate to live here."

[incorrect-ikevamp-quotes]

why does jean warn up to mc so quickly? ikevamp makes it clear that jean is a pretty reserved person and doesn't open up or let people in easily but he seems to let mc in quite quickly and it confuses me quite a bit.

Oh boy, where to begin with this one.

Well, I have a lot of Feelings^TM about this, but I'll try to be concise. Essentially, I think Jeanne doesn't recover in the other routes--or the general storyline--largely because he's just a lot to unpack narratively speaking. And without some pretty direct intervention, he has a hard time healing. MC’s direct intervention was meaningful because it was focused, consistent, and adapted to Jeanne’s specific needs. She also doesn’t make light of his experiences which is key; she fully understands that she can’t fathom what he’s been through. There is a very weighty respect and acknowledgement, a seriousness with which she treats his wounds that’s important.

It’s easy to make this a “why is MC nOt LiKe ThE oThEr GiRlS” but honestly that’s just not the sense I get when I look at all the information available to us. 

That being said, I also just feel like every person's recovery from traumatic events doesn't really look the same? I mean Leonardo’s cptsd isn’t going to operate the same way Jeanne’s wartime/Inquisition cptsd is going to operate. Some people require very individualized healing, others will often require a large scale group effort to lift them up.

Typically people don't ever just get over what happened to them and never worry about it again, either. It's usually a process of coping; the hope is that with time you find healthy ways to deal with grief and move forward. Therapists aren't magicians, they just help people process painful experiences/thoughts. It's honestly up to individuals to find meaningful ways to implement these tactics. 

Tl; dr: My contention is that Jeanne doesn’t open up or choose to stay alive because MC magically heals him, rather his recovery is a convergence of many people’s efforts and hopes that he stays alive. Gilles (he insists that Jeanne must live, asks him to promise), MC (affirms and bolsters that promise), Comte (makes a second life and recovery possible)--and in no small measure Mozart and Napoleon--all make an active effort to buoy him. As people often say, it takes a village to raise a child.

While Jeanne seems to respond most powerfully to MC’s attempts, it feels more like a product of chemistry/compatibility than it does a random cop out. There is no insinuation that only romantic love can heal; after all, MC gets close to him without any romantic intentions at first. They’re just good friends? It’s more that their feelings simply moved in a different direction after a point, which doesn’t necessarily happen all the time. Jeanne is also incredibly moved by Mozart’s love for him as a friend, Comte’s love for him as a father, and even Gilles’ love as a comrade to an extent. If anything, without their input Jeanne’s capacity for romantic love would be questionable at best.

Now, because I can never for the life of me stop analyzing, I have a more large scale outline of my thoughts below. Spoilers for Jeanne’s route:

If we look at Jeanne's life history, he has pretty specific trauma. Most of the harm he endured was a direct result of human rights violations after the war itself. He didn't enjoy fighting and killing people, but he's also very much a man that sees the reality of his position: it's either kill or be killed. His entire goal was to defeat the enemy as efficiently as possible in the hopes of ending conflict, and with his enormous resolve turns the tide. He had no innate interest in inflicting harm, or lack of control when engaging. He isn't pathological about it, and doesn’t dehumanize the other side. He was more "this was an act of necessity, but those are still human beings." So as far as I can tell he has a very strong moral compass and sense of duty, he doesn't show much delusion/confusion in that regard. (Also evident in his conversations with the young orphan boy.) Furthermore, he has been shown to have a sense of humor--cracking jokes with Gilles and boosting morale for his fellow soldiers.

His childhood abandonment is significant (he left his home because he was "not an adequate farmhand and they had no ability to feed all their children") but I don't know if I would consider it a huge trauma point for him. It seems as though he deemed it an act of necessity--not spite. It was simply the way of things, and he couldn't help his wiry constitution. You'd be surprised how common that was once upon a time, tbh... While it's certainly not right or fair, it does appear that in his perception it was the choice he made and he moved on after he became a soldier. Just focusing on what he could do, rather than everything he lacked. For people in his position, they often feel it is useless to linger on what should have been. There’s no time to linger or doubt, life hangs in the balance.

That leaves us with his time under the Inquisition, just before he was slated to be burned alive. I think this is the keystone trauma point for him, because there are a lot of moving parts to his powerlessness here. The first part is that his entire life's mission--ending the war so that people would no longer have to die and/or starve as a result of senseless violence--was just sabotaged. All those years of doing things he never wanted to do (wartime violence) and being forced to leave his family to ensure they didn't all starve, all of it treated like some kind of joke. Like he didn't sacrifice years of his life and sanity to protect a people who were happy to call him a monster and watch him burn alive. The second part is the overt gaslighting and rewriting of Jeanne's personal history (and overall French public perception) for the sake of the King's political agenda. To call him a treasonous danger to the country when he was once lauded a hero. The third portion is the actual physical helplessness of being arrested, starved, and continuously maimed for no reason beyond pure malice. While it's never right to do that to any human being, this was done to a man who prided himself on his stalwart moral code. To abuse and torture him for something egregious that he would never do (at the risk of death) is just another slap in the face to everything he is and believes in.

I just feel like the context clarifies why that period of time would be the tipping point. His entire moral code and life’s work is being called into question and swept aside, as well as his agency? He believes very powerfully in a sense of right vs wrong, what's fair and what isn't fair. Somebody else deciding that for him--and deciding in a way that is openly unfair/incorrect--further makes him lose himself and his sense of reality. A person in that situation begins to doubt if they are good or bad. His belief in god all the more pressing; if he was a good person, why would fate bring him so much suffering? Honorable soldier or not, his blade has drawn so much blood...

People often reference his stilted social skills (and I am of the belief that he is on the autistic spectrum) as a reason why he is so "people-adverse" but tbh? I don't agree. His memories before the onset of this trauma reveal that he was actually a very warm person, and that people were more than willing to fight under his banner. He had friends, and he had comrades--his country loved him. He was the picture of well-meaning civic duty. Just because he doesn’t integrate smoothly into larger social groups or adapt well to socially shifting circumstances, doesn’t mean he just hates people lmao. When people give him the space to exist within his comfort zone and don’t take advantage of him, he thrives. Compounded by that, we also have his actions in the present to further prove what is true and what isn't.

While he is stern with the orphan boy (I'm sorry I can't remember his name, damn it) there is no malice or cruelty in what he has to say. He doesn't punish the kid or do anything out of line. It may not be fair in terms of the adult level of discretion he asks of him, but the kid also didn't have a lot of options realistically speaking lmao. Same thing with MC, she and the orphan boy are nearly identical in how Jeanne treats them. He's a little rough, but the route reveals that his intentions are just a reflection of what he's been through. He truly believes that if a person isn't strong, they won't survive--because his entire life was a series of trying to be strong/reliable because nobody else would. There was nobody to protect him, and nobody to care for him went things went south. It was him and his sword against the world, and even his exceptional skill as a fighter did not protect him from the Inquisition's arbitrary torture. He has lived in a world where good acts can become absolutely meaningless, where following rules and helping people still gets you slaughtered. That's going to take a considerable toll on his mental health: where do you find the will to go on when the next second of your life could mean the devastation of everything that matters to you?

Spoilers: you don't. Or if you do, every minute of the day is a fight to stay alive. That is the point at which we meet Jeanne. Caught in the hellish whirlpool of wanting more, wanting better--but being terrified of the cost. The cost of hoping, only for his entire world to go up in flames again. It's not a small thing, in my view.

If you have any doubts as to whether or not that is the case, I direct you to literally every singular instance in which Jeanne's emotional sensibility goes visibly dark/south. When do these instances happen? When it rains, for one. And when Shakespeare deliberately starts pressing on his sensitivities: about the soldiers he was forced to kill, about the nation that spurned him, how he's truly "wicked" at heart and doesn't deserve to be happy--seconds before flames erupt for the festival. Does that really sound coincidental? I mean lmao. The rain is a painful reminder, but MC transforms that memory into something a little lighter with her bet. He has nothing to lose in her game, all she does is ask for time with him or offers him something if she loses. There's a playfulness there, a restoration of agency and ease that's invaluable to his recovery.

As for Shakespeare's deliberate retraumatization...I can't even begin to explain how damaging that event was. Shakespeare is undermining Jeanne's agency in that he--not unlike the corrupt monarch of Jeanne's era--is twisting Jeanne's beliefs to work against him. He knows full well that Jeanne doesn't feel like he deserves somebody so bright and understanding (we need to remember it's not really a luxury he's had much in life, especially after the war ended). He knows Jeanne has a tendency to impose that strict moral code on himself even more than he does on others. To reaffirm his every worst fear and lurking terror only throws Jeanne into a vicious downspiral. Jeanne doesn't reject MC out of disgust or hate. He rejects her because he literally cannot handle the concept of trying to be happy again, or of burdening her with his constant struggle to move on while he’s in the middle of a bad episode. He knows he won’t be able to stop reliving the past, that every second of his life and breath will be colored by his gruesome memories. He's trying as hard as he can to keep the intrusive thoughts quiet, to move on. But I'm not going to lie to any of you, that is incredibly difficult to do alone.

The next obvious question is, well why can't the other men help him? This isn't to say that they can't--we see how much solace Jeanne finds in Napoleon and Mozart. Even Isaac is gentle with the veteran. But there are limits to how much they can do. Napoleon is struggling with his own wartime trauma, and it's not identical to Jeanne's. Plus there’s a distinct difference in their sensibilities? Napoleon is the type to habitually seek comfort in helping others when he can't help himself, he's not as in tune with answering his own personal feelings and regulating them. (I mean just look at his new ES: he knows what he wants, but it takes a nudge from Isaac for him to go through with it.) He’s very communally reliant in ways Jeanne isn’t; Jeanne is a very private person, and typically prefers one on one from what I can tell.

Mozart is the definition of repression, and if you look at their interactions it's usually Jeanne that's smoothing over Mozart's rough edges. Mozart says as much himself: that he feels like a rotten friend because he knew Jeanne was struggling with a lot of intense trauma, but he didn't know how to unravel it without hurting him in the process. Mozart calls it personal cowardice, but honestly I just feel like they both had too much going on to be able to help each other effectively. (And Jeanne expresses this sentiment too? This idea that he's not angry with Mozart? He knows they're both carrying a lot, he's just touched Mozart cares about him in return.)

Okay, briefly unrelated, but like. Am I the only one that wheezes uncontrollably when Mozart is like "?????? Idk what it is about MC...I don't want her to be scared of me..." in his own main story in the baths. And Jeanne. IS TRYING SO HARD. NOT TO SPILL THE BEANS ABOUT HIM O B V I O U S L Y BEING IN LOVE. THE HILARITY I CAN'T DO THIS. Jeanne was like "yeah....yeah that's rough buddy.......[screams internally, give your boy time Jeanne he's fragile]"

Honestly? That's the thing about Jeanne too--he has incredible self-awareness and hyperarousal-related (I mean the PTSD kind, get your head out of the gutter) awareness to the people around him. He's very, very conscious of the fact that he is surrounded by geniuses when he can't even write his own name. Just because he has the fortitude not to lash out with his insecurities, doesn't mean he never feels stupid or inferior. And it doesn't help when there are people in the mansion who call him--a fucking war veteran from 500 YEARS AGO--nAiVe. He's not naive lmao. He just doesn't know how the world works so many years later, and it's a ridiculously steep learning curve? Leonardo and Comte are nearly 500 years old, but they lived throughout every hour of that time in a linear fashion. It is a big deal to be moved from 1430 to 1890 in the span of a second asynchronously, and then be expected to function without a hitch??? Given the circumstances he adapts well.

That atmosphere--this constant impatience with what he doesn’t understand, his inability to be caught up to speed quickly--is going to hinder his recovery lmao. He feels like a burden most of the time, and agency and freedom are crucial.

Another thing that occurs to me about the mansion's arrangement is that there is a power dynamic, just as any space with people in it has some level of hierarchy (unless you live with miraculously chill people). Jeanne is acutely aware that Comte is the most powerful being in that space, and he is not only hatefully angry at him--but likely afraid too. We have to remember that the biggest betrayal he witnessed in his life was at the hands of a monarch; it was the aristocracy that turned on him and erased the truth. Comte is openly a child that resulted from both that era and that type of lineage, I don't really blame Jeanne for being wary. He intimately knows how willing rich people are to throw normal folks under the bus to suit their ambitions/whims. Comte, while not deliberately threatening, also seems to be painfully aware of this impression he gives off. His "chad persona" as I've mentioned allows him to navigate his life in secret by necessity, but it’s actively damaging to his son. He can't reveal the truth because of Vlad's betrayal, and he's openly unsettled by what it could mean to be honest. Will they wonder about Vlad and find themselves ensnared under his mind control as Charles and Shakespeare are? Will Comte himself be subjected to the mortifying ordeal of being known only to lose them?? That's a risk he isn't willing to take--and that leaves him in a double bind.

What is it that they say, the truth will set you free? This is where MC and Comte come into enormous play when it comes to Jeanne's recovery. One thing to keep in mind is that most of the people in the mansion have their own traumas they're trying to carry, and I feel like a lot of them are unsure how to approach Jeanne. Or if they do, he's very guarded. It takes a lot of consistent effort to get through to him. What does MC do when Jeanne unleashes his harsh worldview on her? She's understandably frightened, but Jeanne isn't malicious (so she chases him around). In fact, he openly avoids and runs away from her--well aware that what he's done is wrong. If anything, he did it on purpose, bringing us right back to Shakespeare's verbal undoing; why does Jeanne attack her in the first place?

LMAO. He attacks her because she essentially says "oh thanks for helping me!" "I am not nice. Watch yourself." "But you seem like a nice guy to me?" "REEEEEE" Does the pattern become a little clearer? When people think kindly of him, his instinct is to shatter that illusion with an impulsive reprehensible act. When people think poorly of him or lash out, what does he do? When that orphan boy starts yelling and screaming, Jeanne is nothing but calm. He explains the situation, and offers the kid a choice, perfectly happy to be the bearer of bad news. This operates on many levels I’m sure, but I have a feeling it has something to do with him being hailed a saint and a war hero only to be tortured and branded a monstrosity (and he probably thinks being a vampire is doubly monstrous). He’s more comfortable being hated because he feels it’s what he deserves in a lot of ways.

Jeanne has a lot of internalized self-hatred because of what he's done, and because of how much harm was inflicted on him outside of his control (he's Catholic and he was tortured, come on this writes itself). If I'm honest, I think that's actually the greater part of why he hates Comte lmao. Comte refuses the very concept of being cruel no matter how much Jeanne lashes out. Sure he lectures him and scolds him, but he never actively limits what's important to him or controls or harms him. Comte fully realizes the tragedy of how Jeanne's life was used by a nation in dire straits, and knows he needs time and acceptance to heal. No matter how dismal or unhappy, Comte doesn't stop--he fully believes Jeanne should have time in his life where he can really live for himself for once. But therein lies the issue, Jeanne doesn't know how to live for himself.

Which brings me to how MC and Comte "heal" Jeanne. I feel like they give him the space he needs to recover, and that's what results in his gentled temperament and happiness. Remember that so much of his main story is MC endlessly chasing after Jeanne. No amounts of his hissing or running or threatening stops her. Even if his refusals are empty of real dislike, they're enough to deter most people. Not MC. She's able to see through to the depths of who he is, and doesn't just use him for her own ends? She actively seeks to teach him (to read and write) to help him settle better in this era, she actively tries to ease his distaste for rain with a well-meaning bet, and she never gives up on him. (Actions mean so much more to him than words in general too, tbh...). Love is more easily defined by work and effort than it is by attraction.

When he has his episode at the festival, sure she's rattled; but that's because she truly believed that he didn't want to be around her anymore. When she notices he really doesn’t want to be followed, she stops like any normal person would. It’s only when she reads his notebook and sees the truth for herself (that he’s given up despite having the same feelings for her) that her determination is rekindled. She doesn't approach him fearfully, doesn't treat him like he's made of glass either. She just wants him as he is--accepts and loves him as he is. Scarred, bloody, exhausted, abrasive, terrified. She doesn't define him by how easy he is to love. That is a huge issue with traumatized people lmao. Because of their maturity, people always just assume they don't need help, or they rely on them to an extent that isn't sustainable. The second they reveal need or that they struggle, people walk away or victim blame them because it’s easier than taking them seriously.

While MC's attempts may be a little more obvious (cherishing his lily field, wearing the hair pin he gave her, careful about his gruesome injury, really listens when he talks about the horrors of his life and accepts that he experienced a level of agony/terror she can never understand, tries to express her feelings no matter his evasion) I think it's also important to consider Comte's large scale effort. I don't say this to undermine MC, I say it because Jeanne's life was defined by a complete lack of security. He left his parents to make their lives easier, he lived in a war that meant life or death any second, and his country's leader branded him a traitor which lead to his endless torture and public execution. Jeanne does not know a life in which safety is the norm. Point blank. He does not understanding going outside and not expecting the worst anymore.

Comte not only understands that level of despair, but treats it with dignity and respect. He fully accepts being hated if it means Jeanne can use that hatred to live on and find a way to heal. And most importantly, when Jeanne begins to move forward with MC and Mozart's help, Comte never once holds it against Jeanne when the truth is revealed. He's not angry, this isn't about reprisal or reparations or revenge. It's just love.

Jeanne doesn't really have a concept of this? His entire life was mostly transactional, defined by strength and efficiency. Nobody gives a damn about your feelings. You either hurl yourself at the problem or die. Nobody is going to help you or carry you or save you. While he may have had a little more support while he was in the military from his fellow soldiers, that support system was ripped away from him during the Inquisition.

One very common sentiment regarding elongated imprisonment and torture is that survival occurs in pairs. It is an undeniable fact that people need others to survive. It is the nature of who we are. Individualism has never proven to be successful, or if it is, its dividends are astronomically minimal when compared to people working together.

What does it mean to be the most reliable, steady person in the room? Usually it just means you don't know how to ask for help when you are no longer capable of maintaining that stance. Napoleon is guilty of it. Leonardo, Comte, and Jeanne all are too. It's part of why MC and Comte's capacity to see what he needs and provide as much as they can is such a big deal. That sort of consistent support (without a constant necessity to beg for help) allows Jeanne to be able to re-integrate into his new reality and find joy. Even if his nightmares and memories never go away, they are now being actively overrun by positive experiences. That's the thing about recovery, really--it tends to be more about drowning out the negative as much as possible and coming to terms with it, than it is about forgetting or never feeling it again. It’s about softening the sharp edges of pain like sea glass.

So is MC magical and randomly got Jeanne to open up? Nah, I don't think so. I think it was a series of persistence and real acceptance of who he is that made him warm up. People really seem to underestimate how deeply affecting understanding is, but that's how damage is undone. Jeanne can't really linger on the idea of his own monstrousness, his unworthiness, a lifetime of misery, when the person in front of him actively listens and cares about him. Makes him laugh and smile and lose himself in warmth for the first time.

If I'm honest, I feel like people also just...underestimate the level of traumatic resurgence that's perpetuated and inflicted by society’s standards in general lmao. This rhetorical structure in which good and bad exist in moral extremes, this idea that people should be able to recover and never experience relapses or periods of sensitivity. The refusal to radically listen to people and their problems, and make active attempts--not matter how small--to mend/ease those hurt feelings. Granted there will always be people in the world who do not want to improve, but I feel like most people want to. It's hopelessness, silence, and stigmatization that remain the true enemies of traumatized/mentally ill people everywhere. And among that population are always war veterans...

[nytech]

Teaching Entrepreneurship with Shaun Johnson

This interview is part of our “Getting to Know You” series, featuring brilliant entrepreneurs from the NY Tech community.

Shaun Johnson is an experienced entrepreneur who has worked across the fields of technology acceleration, early-stage investment, and ecosystem development. He lives in New York City and teaches entrepreneurship at Fordham University & Parsons School of Design. Shaun is also a Board Member of the NY Tech Alliance. He agreed to speak with us about his career journey, the lessons learned along the way, his take on diversity in tech, and what makes a successful entrepreneur.

“One piece of advice I’ve been given and still sticks with me in a perplexing way would be to say that perception equals reality. Even though this isn’t always a universal truth, I often wonder if it’s true, untrue, or sometimes true — as there are times one can influence the other, and other times, not at all.”

Tell us about yourself

I like to describe myself as a helper of people, and that has taken a lot of different shapes and forms. I actually started my career in the federal government, then as a management consultant, and finally transitioned into the world startups as an early employee at Techstars, where I ended up spinning out a company called Startup Institute — a career accelerator aiming to equip people with the network skills and mindset to be immediately impactful in the startups that they join.

You teach entrepreneurship ー according to you, what are the skills one must develop to become a successful entrepreneur?

In teaching entrepreneurship, there are a lot of things that are important, especially at the university level because there’s always this tension between “can entrepreneurship be taught?” or “should you just go out and do it?”

The mentality of doing and learning through action is definitely a skill worth acquiring, whether in the field or the classroom.

There will always be a lot of little failures along the way, and that’s actually a good thing, but it can be counterintuitive for folks who aren’t used to accepting failure on their way to success. Grit is also another important factor. And then the last one, just because I want to leave it at three, is empathy. To have a deep understanding of your customer, the mission that you have, and the people that you’re building around helps you to build exceptional teams, exceptional products, and ultimately, address your market in an exceptional way.

What’s your favorite thing about teaching entrepreneurship?

The people. Students are always so different. People come from multiple backgrounds, different parts of the world, different industries, and with different perspectives. Even if you are teaching one specific course on entrepreneurship, it’ll never look the same because it’s always dependent on the people who are there. Everyone brings their unique personality, and the diversity and plurality come together to create a unique experience.

My desire and appreciation for plurality reflect my sentiments about New York City itself. The city is made of 8 million people coming from different backgrounds and places, who all have unique personalities, desires, hopes, and dreams.

We all have to interact with each other and try to build a better future. Whether it’s through entrepreneurship or just our own coexistence, I think that there’s something productive and meaningful about that.

How do you think the tech industry can become more diverse?

I think one of the challenges is that we tend to take one shade or one arc of diversity, drill in on that and assume that we’ve done our job. For example, one aspect of diversity can be ensuring your company hires people of color, or getting women into the tech ecosystem and make sure that there’s equal pay and that gender rights are respected.

But can you actually look at this kaleidoscope and not just say, ‘Hey today we want to focus on, like, LGBTQ rights?’ Or ‘today we want to focus on Black people or women.’ But instead, the dialogue has to answer the question of: “How can we actually approach inclusion and value creation that is accessible to all?”

Rather than trying to identify a specific group on its own, let’s actually think about how we can lift everyone up together while also valuing their uniqueness.

Is this part of the reason or the reason why you wanted to become involved with the NY Tech Alliance?

I’ve been a huge fan of the NY Tech Alliance since my career in startups has begun. Before I was living in New York City, I would take a bus from out of state to attend NY Tech Meetups, to see that the energy in the room with so many different people there.

It just felt like a panorama of what the startup ecosystem has to offer. It was a great entry point for me. And the NYTA still serves in that capacity for others and provides a jumping-off point, an entry point, and a point of connection, learning and motivation for people.

When given the opportunity to serve on the board, it was something that I couldn’t pass up.

Which trends do you think will emerge in the tech industry in the near future?

You know, I never pretended to be a fortune teller, but I think the year we just survived showed us that despite quarantine and isolation, we still need to connect with each other and be productive. It has been great for Zoom but so many people are zoomed out and looking for different ways of connecting with people that may not just be from the shoulders up.

You’re also seeing some trends around climate tech. The conversation is now rightly shifted from climate change to the climate crisis, and it is attracting a lot of bright minds and big dollars. And I think that’s great because it’s imperative for our survival as human beings.

How has a past failure set you up for success?

I mean, I guess I’m always failing at something. If you’re not failing, you’re probably not trying hard enough. I think the little failures along the way are indicative of trying to do something audacious or something that you’re unsure of. I couldn’t point to one specific failure because there’s just a butterfly effect of one thing leading to the next thing. But overall, the lesson in failure is really to process it and move on to the next thing, ideally in an upward fashion.

As New Yorkers, there may not always be the time or space to do that. You know, we move so fast. We break things, we execute, and there’s so much going on that we can forget to stop and reflect for a minute, look objectively at failure and ask “What could I have done better? What did I learn here? What would I do next?”

It’s important to reflect in a way that builds off of that failure rather than just repetitively coming right back at the same scenario, which is likely to lead to the same outcome.

What was the biggest challenge that you faced in your career?

Walking away from something that just wasn’t for me at the time. With an early career as a management consultant, a lot of things about that job were great: the prestige, the nice fancy suits, the travel.

But then you start to just understand what your calling is, what motivates you or what nourishes you. Changing your career to pursue your calling can be risky, but it ultimately is good for the soul. At the time, I didn’t know exactly what my calling was going to be. And it took courage and conviction to just say “Ok, all these things are good and everyone else loves them for me. But I just don’t love them as much, and I’m willing to look out into the abyss and seek out something that actually is more aligned with who I am and who I want to be.”

It was really scary and that’s one of the biggest moves I’ve made. That’s the advice I give to my students. Do what you love. Life’s too short!

What was the best advice you’ve ever been given?

One piece of advice I’ve been given and still sticks with me in a perplexing way would be to say that perception equals reality. Even though this isn’t always a universal truth, I often wonder if it’s true, untrue, or sometimes true — as there are times one can influence the other, and other times, not at all.

I apply that saying as a prompt for a lot of different things, from looking at analytics and wondering what’s going on with your company, checking in with your mental health and wondering if all of this anxiety or depression is actually real or if your perception influences what you’re feeling. And it’s also a way to keep yourself grounded.

Any final words?

Yeah. If Alicia (interviewer) says or types anything that makes me sound stupid, that was her edit. Everything that I said was brilliant (laugh). And she’ll make sure that it comes across!

To connect with Shaun on LinkedIn, click here.

To learn more valuable lessons from Founders, watch our NYTA Founder Spotlight series on YouTube.

[helena-thessa]

Hi Helena! Big fan of your writing here🥺♥️ Your rivamika fics are my safe space 😭 (if you have time to answer) i’d love to know when you first started shipping them, why, and what made you continue to love this ship (or anything else to do with your journey as an RM shipper)? i love your characterisation of both levi and mikasa individually, but even more so, your portrayal of their dynamic as a couple, which is why i wanted to ask so badly ☺️ x

Hey anon! Oh woah, first of all, thank you so much. Second of all, oh god, you probably shouldn't have handed me the mic. heh 😅

I’m afraid to look at the word count of this response, I’m sure it’s much more than you bargained for, but I appreciate the question and enjoyed thinking through my response (: Most importantly, I’m so glad you find my stories as a safe space. It’s really an honor. Thank you for sharing with me 🖤🖤

TL; DR As a longtime reader, writer and lover of stories and story-telling, by being someone who pays attention to how stories are crafted and deliberately developed from beginning to end, I sincerely thought Isayama was setting up rivamika as an endgame relationship. So, I read into and interpreted meaning out of ALL their interactions and became deeply invested.

I don’t necessarily ship them cause of the parallels, age gap, enemies to lover trope, height difference, or some of those common reasons and/or kinks. I’m more basic and boring than that. I love the concept of them coming together as though it’s inevitable.

They both are unbelievably strong, selfless, and have suffered so much loss— so, no one else could truly understand them as well as they can understand each other. They both probably would have always settled for a stable, simple life, and been alone and lonely even without realizing it— instead, they find each other, and realize what it means to actually no longer be alone, to do more than just survive. It’s this understated bond, as opposed to a dramatic and passionate romance, that I envision in them and that I love so much.

Then, the passion, heat, the romantic "spark"— I think that’s an added bonus, the cherry on top, the perfect final puzzle piece. They’re both so physically capable, can speak through their actions, and don’t show much need or capacity for emotional/ verbal communication, so the ability to connect with each other through physical intimacy and mind-blowing sex seems like another given.

Still, at the end of the day, for me it comes back to their ability to fully depend on each other, to the inevitability. Not like some soulmate trope where they 'have no choice' in it, but like the stars aligned to prove it's right. How each of them have only one other person on the whole planet who could see and understand them, to be on par with them, to make them realize there’s more to life than settling and surviving, and they happen to find it in each other.

You asked, I rambled 😅 Here’s a breakdown of my thought process in my rivamika journey. For those who make it to the end or want to skip to the end, I'll finish with the excerpt of the very first rivamika scene I felt compelled to to write.

I've tried before to re-watch and remember the exact scenes, exact moments, that initially captured my full attention, but I guess it was all of them, the gradual and cumulative compilation of their earliest interactions.

Mikasa always appearing cool and indifferent, and paying no attention whatsoever to others fawning over, like Jean initially falling for her, but then her strongly reacting over Levi in the courtroom showed how uniquely capable he was at getting under her skin.

Of course, the scene in the forest chasing the Female Titan was a critical one. I think of that as the first time both Levi and Mikasa were truly able to see the other's strength, mental and physical. And for them, orphans and trauma survivors who have suffered extensive loss, I think that seeing strength in another person made them feel less alone. Less alone in a deep, quiet but cataclysm, life-altering sort of way, even if not a romantic one. Like they didn't know it was something they didn't have, something they didn't expect to get from life, but then found it with each other.

(Even when we found out Levi was an Ackerman, I was disappointed if it meant they were immediate relatives, but willing to accept it wouldn't be a romantic end to loneliness, it would be a familial end to loneliness. But... the author never explored that. Not once.)

In that forest scene, manga and anime, the way that Levi pauses to really look and see Mikasa and think about who she is, what she’s gone through, and how strong and dedicated she is now— that was a defining moment. It was also a visual demonstration of Levi breaking character, from aloof and ruthless, to considering and curious. I thought Yams was showing both of them do that on purpose.

Then, Levi getting hurt because of Mikasa in that scene felt like another clue. Sure, it was while saving Eren, and sure, it could have been meant to humanize super-soldier Levi, or sure, it could have been another aspect of how Mikasa rushing into things over Eren ends up hurting other people that later changes in her character development, but it felt like a very pointed statement about Mikasa being a vulnerability for Levi. And that's swoon-worthy, right? Most of us have been exposed to and conditioned by stories about how special and romantic it is to be the one and only girl who can make an otherwise disinterested or unattainable guy actually pay attention to her, and so admittedly I fall right for it.

I’m sure I’m forgetting plenty, but the opening of season 3 felt like confirmation. When Levi figures out Kenny's behind things and entrusts Mikasa with instructions to share with the others, instructions about fighting people instead of titans that ultimately everyone else besides her struggles with, and when Mikasa lets Levi hold her back from chasing after Eren, her most important way of trusting and having faith in Levi, I honestly took that as cues from the author that rivamika was endgame. I let myself get truly invested from then on. That’s that understated bond I was referring to. To me, that unspoken but undeniable trust is the most important dynamic.

Seeing them fight together or fight similarly has always been fun and powerful and fulfilling.

I'm newer to the snk club. I was originally an anime-only fan and started watching in fall 2019, I think. I wasn't on tumblr, twitter, or anything else to see fandom discourse. So, I didn't know that the rooftop scene of Mikasa fighting Levi over the serum was such a staple for our ship until much later. I love the scene just like many do for all the reasons we do, but I don't think the actual scene was pivotal for me, so much as it's aftermath. I thought it represented two things.

One, it was an important marker in Levi's characterization. Hands-down one of the most striking scenes to me is the one where Levi is in the alley, somber and alone, listening in on Eren, Armin, and Mikasa talking together. It artfully shows his longing for hope and connection. So, when Levi chose Armin for the serum, that represented Levi choosing hope. And when Mikasa ultimately gave up fighting Levi and didn't choose Armin, which Armin finds out about later on, I see that as an important marker in Mikasa's development. It puts a wedge between her and Armin/Eren [Armin, because he knows she would have let him die, and Eren, because Armin is too special to him and he couldn't look at her the same way after realizing she would have let him die]. That distance between her and her childhood friends is one I don't think could ever be healed completely, one of those painful lessons in growing up. By doing that, it then also puts a distance in Mikasa's own childhood self to her current self. I thought that matured her and separated her out in a way that was another clue toward eventual rivamika developments.

That's a whole other conversation on Mikasa, but I’ll stay on track. Her love for Armin was absolutely authentic and fierce, but at the end of the day, at the core of her being, she chose survival over hope. Meanwhile, Levi chose hope over survival. To me, that was soft, fertile ground for the reasons why eventually, if/when Mikasa found hope and chose hope, that could directly tie together with her inevitably in coming together with Levi. Again, less butterflies and fireworks, but more natural and in a way that was just a given.

I wrote Beyond the Walls before reading the manga from the Marley Arc and on, so that's why most of that story is her journey into embracing that hope. *manga spoilers* There's a lot of meta, criticism and talk about Mikasa's silent, off-screen and subtle style of character development in the Marley Arc and afterward. I won't go down that road, I'm still processing the end of the manga to be honest, but I think it's fair to say she does eventually end up choosing hope over survival when she lets go of Eren and saves humanity instead. I love the “Stay with Me” line and think it’s perfect; a simple but profound display of trust and their deep-rooted bond in a really understated way. *end manga spoilers*

Here's something I always wanted to talk about in full but haven't. It honestly reads to me like Yams was building toward rivamika, and didn’t do anything to stop that until too late. There are tools authors can use to ensure we stop shipping a pair or start shipping a new one; love triangles are commonly used in every artistic medium and we’ve all been persuaded by these tools. But Yams didn’t use these tools to make sure readers didn’t feel convinced by rivamika. For all the reasons I listed above, more I'm forgetting, and for the following:

If he wanted us to think they were family and it would be incest, he should have added in a conversation between them realizing they were (close) family and that they weren't the only ones left in their biological family like they thought. But he didn't.

If he wanted us to think it was completely inappropriate between a child-and-adult and student-and-teacher, then he could have done something to ensure Mikasa looked childish or Levi looked older, but no. They barely look ten years apart. I do think it's unacceptable and that there's a power imbalance between a child-and-adult relationship regardless of that, and that there can't be true consent when one is a superior and another a subordinate, so I personally age-up Mikasa in my head and try to handle his position of power responsibly in my writings... but the point being, by the end of canon, there's no inappropriate or non-consensual romance between them, yet there's a lot of history and chemistry that could naturally lead to an age-appropriate and consensual relationship. If Yams didn't want us to think so, he could have made it more clear that there were reasons it wouldn't happen.

The only thing that makes sense to me is the author planned on rivamika endgame but was shamed/pressured out of it (either internally or due to others) OR that the author somehow accidentally created such vibrant chemistry and an incredible dynamic between them. Like, he didn't put enough convincing substance of eremika in, didn't make Levi look old enough, didn’t have one of them do something unforgivable in the other’s eyes, etc. Those are some of those tools he could have used. Romance was never a key component in snk. And since we now know Yams planned or needed eremika endgame for sake of plot and the conclusion of the manga, I personally think he didn't know what to do with the riveting rivamika substance and chemistry being much more convincing to readers. Once he had them so well built-up, maybe the only option he felt he had was to just stop putting the characters together. We get little-to-no rivamika interaction, platonic or practical, after season 3 all the way up until the very end. But there was so much of it beforehand ?? So, it simply doesn't make sense. I think the author just straight-up cut any and all interactions out between them because it was too convincing and moving, more convincing and substantial than eremika. But, as the end of canon shows, we needed to have some eremika buy-in. It's messy writing and unskilled in the romance department, but considering for how long and how complicated snk has been in a creative process and how lackluster the eremika romance (the main and apparently pivotal romance) is developed, I think it’s plausible to say the author effed up.

As far as writing fanfiction goes, there's just so much room to explore them. In canon, we aren't given enough insight into their individual perspectives, let alone their dynamic together, so it feels like a blank canvas to work from. I think that's part of why I love to write them, and also why I don't necessarily read much of them. When I first started shipping them while watching the anime, I read a few of the classics that were canon-verse, but I haven’t really read much since. For me, exploring and discovering them as a writer is the most fun. (It's one of the reasons Naruto and Harry Potter have such large fanfiction collections. There's so much world-building and so many characters, but there's also so much left to the imagination.)

In general, I'm drawn to strong characters, especially women, who are multidimensional enough to be real, vulnerable and soft. Mikasa is the pinnacle of that. I don’t necessarily like to write about her love or infatuation with Eren, but I do respect and admire and consider it integral to her character and her amazing capacity to love. We can have strong, kickass women who falter when it comes to love but are still considered strong for it. The two don’t have to be mutually exclusive and Mikasa is a beautiful example of that.

And Levi is strong, but real and vulnerable too; he’s honestly a fantastically developed character, from Petra explaining to Eren in the beginning how he’s not the amazing hero he’s painted to be to the public, to how Levi genuinely cares for Erwin and others and chooses hope despite all he’s suffered.

The end of the manga wrecked me a bit. Kind of like Games of Thrones. You have something that was so epic and well-done for so long, a rushed ending that isn't immediately sensical and isn't fulfilling is hard to stomach. Eventually, I'll move on from the denial of that and process what I think and feel about it. The whole reason we have fanfiction is to expand on canon, but it's made me put rivamika on the back burner until I figure it out. So I'm a little less hyper-fixated on the pairing right now even though interacting with you all and asks like this remind me what brought me here in the first place. 😊

To conclude, I’ll share that the very first rivamika content I wrote was a compilation of moments I thought could be inserted into season 3. These are still moments I plan to edit and publish one day. For anyone that actually read this far, I’ll put a rough and unedited excerpt of the first scene I ever wrote about them.

Thank you again anon 🖤😊

BEGIN EXCERPT [after the rooftop fight for the serum, immediately following the ceremony where Eren touched Historia by kissing her hand]:

Part of her was embarrassed at such a flagrant act of disobedience to a superior, especially to one who saved her and countless others' lives in the past. But mostly, she was anguished by the situation Captain Levi put her in once he revoked the serum meant to save Armin and planned to use it on Commander Erwin instead. Her current ostracization and self-loathing was not entirely her own fault. Anger she felt toward herself was just as easy to wield against him.

It must have shown in the grit of her teeth or defiant tone, because he turned to look at her, more aloof than curious.

Like a flint struck to steel, it ignited the fury she felt toward him.

“I shouldn’t have hesitated. I should have just killed you,” she answered him at last, piercing him with eyes darker than the night.

He wasn’t concerned. “You’re good, but not that good.”

Her hands fell to her side, fists clenched as she stood with a single, fluid movement. Before she could let loose a threat, he sighed.

“What’s the problem, Ackerman?” He was dismissive, his shoulders relaxed and posture loose.

The fire too furious to contain, she went sailing for him with the same speed from the battlefield. Her fingers already curled, she tightened her grasp as she swung her fist into his gods-damned apathetic face.

Levi wasn’t unprepared. He easily side-stepped her, then snatched her wrist to steal her momentum. Though he tried to toss her aside, she was no less fast; Mikasa dug her heel in and spun, her other arm shoving hard into his chest.

Too graceful to stumble, Levi used the chance to hook her second arm too. He caged both her wrists in a grip so strong, she was sure it bruised her bones. Still, he only looked at her warily, almost bored.

“Shouldn’t you be grateful? I chose Armin.” If his reminder was meant to ease her anger, it had the opposite effect.

Fury and desperation gifted her additional strength. She shoved into his chest hard. Levi shifted backward, nearly forced into loosening his grip; within that split second of an opening, Mikasa slammed her elbow into his chin, rocking his head backward.

“You did,” she seethed, but as fast as the fire inside her exploded, it was doused. Her next words came out broken and damp. “But I didn’t.”

Levi remained stern and otherwise unmoving as he attempted to flex his jaw through the spasm of pain. As the momentum of the fight died down, he loosened his hold on her wrists and evaluated her distraught frame.

Mikasa immediately released her own hands and turned away from him, eyes stinging from tears she refused to shed as she focused on the stars ahead. Admitting the harsh words aloud hurt her far more than any injury she could inflict onto him.

Not only was Armin one of the only friends she had, but he’d been a steadfast one throughout almost all she could remember of her life. After the trauma of her childhood, it was Eren and Armin who embraced her, whom she learned to love. Now, though, there was a wedge between her and Armin she was not sure could ever be removed. What was worse, as deplorable and selfish as she knew it proved her to be, was the painful wedge it now put between her and Eren too.

Once again, she found Levi standing at the peripheral of her sight, close enough to see but far enough to be a blur at the edge of her watery vision.

“You almost killed me.” Levi repeated his earlier words, but he said them with an odd bite, torn between frustration and patience. “You would have killed me to save him.”

Too late, Mikasa realized he hadn’t meant these words as an accusation, but an odd form of validation. She bit her bottom lip, teeth puncturing too hard; the tang of metal was sharp on her tongue when she swallowed blood.

“You thought about letting your closest friend die,” Levi said quietly, tiredly. “But I did let mine die. I left him for dead, when I could have saved him.”

Mikasa was startled from her selfish reverie, for the first time acknowledging the sacrifice he made on that fateful afternoon. She’d been too absorbed in her own relief, and then, her own regrets to consider what the decision had done to him.

For a brief moment, she considered turning to face him, but the stark reality of the matter made her refrain. How could she feel pity for his loss, when his loss enabled her gain? An uncomfortable knot tightened in her stomach.

“Tch,” Levi sighed. He was only one notch less taciturn, but for him, that was soft. “You’ll live with your guilt, and I’ll live with mine.”

His words granted Mikasa’s tears the permission to spill. She buried her face further into her scarf, both hands trembling at the worn threads. As quietly as he arrived onto the roof, Levi disappeared from it.

.

.

It was rare for him to indulge in alcohol or celebrations, but Erwin’s absence felt more tangible than his presence ever did. Levi distracted himself with the chaos of the few remaining Scouts that Erwin had died entrusting his legacy to, and attempted to drown the pain with whatever drink Connie Springer shoved into his hands.

He found Hanji with their ale long-forgotten about on the table as they half-stood from their seat, frantic while explaining some morbid experiment in great, vivid detail to an unsuspecting and slightly horrified MP officer.

Though Levi wordlessly took the seat beside them, Hanji paused their rant to slap him hard on the back, an enthusiastic greeting flying from their drunken lips. The MP took this chance to excuse himself, a pathetic attempt at politeness, but Hanji either didn’t care or didn’t notice.

“Ah, Levi,” they smiled at his drink, though it didn’t entirely reach their one eye. “Where you been?”

Levi didn’t answer. “You know, shitty-glasses, you’re even more unbearable about your experiments when you’re drunk.”

Hanji waved dismissively and reached for their ale. Years spent in battle and command together had gifted both of them with an eased familiarity, and sometimes, genuine friendship. In the same manner he ignored their question, Hanji ignored his lack of response and went on with their original inquiry.

“Careful, Captain,” Hanji warned lightly. “Now that there’s far fewer Scouts, you having a favorite might cause some division.”

Even though Hanji meant the words, there was a glint of mischief that twinkled in their remaining eye.

“It’s not favoritism,” Levi countered bluntly, turning his vision toward the young man on the far side of the room. “Eren is simply the best chance that we have in this war.”

Hanji laughed as if he’d made a joke and Levi looked back to stare at them, unable to be surprised at their quirks or oddities any longer, but still a touch curious about what spurned this current demonstration.

“I wasn’t talking about Eren,” Hanji said at last, a pointed nod toward his injured chin.

Levi blinked. He didn’t realize he was nursing his injury with the hand not on his drink. As though it were too hot to touch, Levi dropped his hand.

Hanji was not judgmental, nor inquisitive. In a war-torn life of losing too many cadets entrusted to him, the fact that Levi found a soldier with the strength and skill to remain safe was not only rare, but worth special attention. Still, it made him too lenient.

“Sometimes I think you’d let her get away with murder,” Hanji chided halfheartedly.

When he thought of Erwin dead in his grasp, sometimes he wasn’t sure if he already had.

[roleplayingwithartscape]

Bright Room

A wonderful red wine you sip in this most...frustrating of nights.

Not only had your attempts at getting back to the emeralds fell flat, but no matter what, the mechanic disposed of your minions rather swiftly. You scroll through the photos while holding the device you "inherited" from one of the emeralds. It appears the technical capacity was not the only gifted aspect of this goldblood. Against an indigo he could hold his own. Your eye twiches. You could dispose of him. You just had to be smarter, and find a....justification for what you planned to do. "Sir, they found the olive you asked."

The news snaps you out of your pondering, returning a smile to your face as you stand up "the one that you said would be working with the emeralds, sir. Theyll be here in a few minutes, said she was complying." "Of course, thank you. I will greet them, carry on with your duties, ensure the bright room is ready." After a hesitant right away the small lowblood runs off. You close the laptop, you had your justifications coming right to your doorstep. No need to frustrate yourself further.

You stroll downstairs, saluting any number of your minions as you do so, the resolute glare some return really does something for your mood, maybe you didnt even need the olive to blow that fucker up. Sure, he was a lowblood, but by now, it was irrelevant. He was working with the emeralds, so would be treated like the worst highblood. You spot the guest at the doorstep, flanked by your troops as they give you a bow and step off, she seemed way too enticed by the architecture, truly a wonder you'd have to agree. The tall intricate pillars emulated the designs you'd imagine hold up castles of the highbloods, ceilings tall enough to accomodate.

"I suppose you shall be the olive I asked for. Very glad you could spare the time." You return a grin that has her uneasy...perhaps signs of guilt already showing, from daring to hurt lowbloods. At least, you could tell others that. "You asssked for me? I thought this wasss just a random sssurvey type of thing, unlesss you didnt want to heh, bring my recordsss outssside?" she tries to back off but the doors are already closed, and your prey boxed in. "Records? No no, I have done no such investigation. I just heard you talked with a certain mechanic in the area, and wanted to talk more about it. I am Crisom, may I have your name?" "Im uh, Sssoevia. Do you mean Nithusss?" You nod, directing her to follow you through the building as you two spoke.

"Your crew and I were discusssing him too, I don't know too much about him, I have to admit... He wasss kind, it took a bit for him to warm up to me... Though that isssn't exactly unusssual...Do you have anything more ssspecific to asssk...?" Acting dumb, in front of a rebel leader....she was quite brave. Or maybe it wasnt an act at all. You enter your room again, keeping your calm as you move to open the laptop.

"I see. He has been meddling with drone parts has he not? He works with another group. Supplying them with items that could prove to be dangerous. Not to mention, his short fuse has proven to be quite...destructive." Soon, an image of the mechanic trying to punch that indigo showed up on the TV. The kid had just blocked it with a shield, from the brigtness it was clear how much psiionic energy he was putting into it.

"as can be seen." You continue nonchalant with a smile on your face as she examined the image, "Now, its an indigo, normally we wouldnt care much, but the damage has been to the area as well, and some of our guys didnt exactly have the equipment necessary to survive the encounter. Im sure youve seen the marks outside." You watch as her eyes remain glued to the screen, certainly she had seen the destruction outside...but even then there was something odd about how he looked at the kid. "Guesss it ssshowsss how much you really think you know sssomeone... and he'sss fighting a kid too, he'sss barely older than-" she freezes, keeping her mouth shut, sadly you wanted to hear that part, "either way uhm. M-maybe theresss an explanation of sssome kind. Like a theft or. Sssomething."

You shrug, even if she could keep her mouth shut, her agreement was delicious, since this exhibition has ended you step outside, confident that she'd follow you like a lost little lamb as you made your way through your lair. "My people only noticed it after the fight began. But the kid tried to run away, to try to calm him. Had it not been for the local highbloods, who knows how much damage he'd cause. Not to mention that they'll most certainly use this as an excuse to make lowbloods pay more for their "protection"...perhaps he was an accomplice and this was staged. The purple didnt seem to hurt him further-" "ahem."

You squint, scan the corridor. You couldve swore you heard someone coughing, but...perhaps it was just one of your minions, you shake your head as you grab another item of interest. "But...he had seemed disssapproving of them...or maybe that wasss an act..." "most probably." You cherish the moment for a second "Besides, his work with the emeralds has supplied them tools that could make them more dangerous than the drones, take for example this one gizmo of his, allowing them to detect mutants better than the empire can." You point the device in her general direction and it already lights up, showing that you have a mutant in your hands. "I. Yeah he...ssshowed them to me I didnt think they would... ussse it badly..."

You take a step towards her, hoping to ease her confusion "I was hoping you could help clarify some things for us. Just wanted to get some outsider to agree that he is dangerous. Afterall, itd be a shame if we didnt act. He could hurt or cull another kid. Or work with the other groups to inflict great harm." She looked confused, certainly she was going to nod along but just needed some time to process. You would happily give her that as you walked along.

"I dont know, it...doesnt seem like something he would do." You pause. "Then again maybe that highblood had a hand in ssswaying hisss opinionsss... I wisssh I knew more but. I havent visssited him in a long time...maybe I could go and talk with him, and learn more about it." You slow down as you approach the bright room. "But you do understand how dangerous he might be. Correct? And yet you refuse to make any judgement." "Y-yesss. It can be harmful to make a judgement before knowing more about the sssituation. Whatsss...thisss door about?" She stares at the entrance to the bright room, the door reinforced enough to resemble a submarine door, aimed to make sure sound and light stays inside. Your smile returns.

"You could say its...a training room." You wave at one of your men as they come to open the heavy door, revealing the pitch dark room, you flip one of the many light switches that were outside making it dimly lit, "Do not worry, it is empty for now...and I suppose I could apologize, but I really do want you to spend a little more time here with us. Perhaps you would be more agreeable." She crosses her brows as she processes the situation, fear flashing over her face for a brief moment, "Listen. He mightve gotten carried away but I doubt that wasss hisss intention. Why not let me go talk with him? We can get thisss sssorted Im sssure." She sounds much more stern now. Sadly, that wont do. You dont like it when others stand up. "Unfortunately I cant. You should think about how you speak to me."

With a wave of your hand your goon shoves her into the room and slams the door. You smile as you flip on some more of the switches, making the light inside much, much brighter.

You will let her out in a few hours. Perhaps then she will be on your side. For her sake.

[river-bottom-nightmare]

Nightwing #81 Review

i swear i actually thought no one was interested so i didn’t write one but a grand total of two (2) people said they wanted to read it, so here it is. honestly, my opinion’s been going a bit downhill, but the art is really cool and there are some decent parts so. holding out i guess? i really hope taylor has an end goal or at least a cohesive plan, otherwise i don’t see this series going anywhere i’ll particularly enjoy

the cover is very straightforward in its imagery, this villain has nightwing in the palm of his hand, easily manipulated, easily controlled no matter the action dick thinks he’ll take. 

what i find interesting is the colour: both previously and heavily in this issue, the colourist has chosen to make pink this villain’s main colour, with different shades of pink as accents. so why the red in the cover? possibly to just make it more eye-grabbing, though one could argue that pink is even more eye-catching than red. maybe to convey a sense of dread or fear that pink won’t fully get across. either way, it’s definitely a decision i’m curious about.

so melinda zucco is in a high enough political position within bludhaven that she is next in line to become the mayor after the previous mayor died and dick just,,,,didn’t have any idea she existed? dick didn’t know anything about her? forget dick’s own brilliant detective skills, forget his doggedness at anything zucco related, you’re telling me bruce never found her and told dick about her? maybe he wouldn’t have now, but back when dick was a young kid, he definitely would have at least made dick aware of her existence, to let dick know and ask if he wanted to interfere with her life or anything.

i have a thought about zucco’s facial expressions. she is very much stone-cold poker face throughout the entire issue. the only time i see her pull a different expression is near the end when dick corners her against a wall with an arm around her throat. 

this is most certainly intentional, what with the varied and intense expressions we see on other characters, dick most prominently. i’m wondering what exactly is the creative team’s reasoning behind this. in these panels, zucco is meeting with the most dangerous, powerful, near-bloodthirsty man in all of bludhaven and becoming the mayor of the city respectfully. in both of these panels, there is barely a hint of emotion in her face: no fear, no determination, no satisfaction. it’s just odd, considering the circumstances she’s in, regardless of any training recieved.

just spitballing here but. like. from what i’ve read so far, dick doesn’t really seem like bludhaven’s guardian angel. more like when peter parker first put on spandex and blindly stepped out into new york.

dick, how exactly can you underestimate someone from one move. so he caught your escrima. anyone with enhanced reflexes can do that. you still don’t know how he can actually fight, and this is shown in the next set of panels. 

i just don’t like the wording here. dick’s “underestimated” him, but beats him up easy in the next page. in addition, i don’t know much about combat, but i would assume it would take more than one move to determine exactly what an opponent’s skill level is, made even more complex when you add physical enhancements and metahumans and aliens into the mixture.

idk my first thought when i saw that he caught the stick was “ah ok he’s enhanced” because obviously he couldn’t have reacted fast enough if he wasn’t (as there are few people trained enough to catch it on human reflexes alone.) then the wording in the next panel, i’ve underestimated him, made me think “oh no ok so he’s not enhanced, he’s just a really good fighter and can give dick a run for his money in a fight.” then, it turns out my first assumption was proven correct in the next panel. it just comes across as misleading to me.

(also sidenote but his curls are cute.)

have i praised the art enough in this series? no, i have not.

i adore the way this is laid out and illustrated. without even having to read the text, the action sequence is visually engaging and intense, and easily followable from one panel to the next. dick’s physical expertise comes through quite efficiently, and i love the special attention shown to draw our attention to dick’s escrima in the bottom right corner.

also that move in the middle row leftmost panel that’s the mcu black widow move to get up off the ground it was the first thing i noticed and it made me laugh; thought it was worth noting

i’m really loving dick’s escrima sticks in this run. they’re just so multipurpose, it’s hilarious and exhilarating. kinda reminds me of bruce’s belt, the way the button in the middle does eevveeerrryyytthhiinngg. 

got a problem? don’t worry! dick’s installed a feature into his escrima that can fix that! (i like thinking dick helped make them it makes me happy and makes my engineer!dick side satisfied)

yawn. your big heart is your one true weakness yadda yadda the fact that you care will be used against you blah blah we get it. jesus can the villains please find a different weakness to exploit, this is getting old.

i need dick’s capacity to empathize and care and love to stop being a weakness that villains sneer about. bonus points if dick saves everyone anyway, either because of or despite his great big heart and the villain is surprised by the goodness of mankind or some shit like that.

i need it to be a strength, right from the get-go. the fact that he cares so incredibly much should be an asset that dick has and will use. he’s a very complex character with years of background, it can’t possibly be that hard to find another weakness of his. 

ooooh this is cool, gosh i absolutely love this.

because what exactly is the reader doing? we are seeing the fear in dick’s face, just as this villain intended. even better, we’re seeing the reflection of it from the villain’s glossy mask, telling us exactly what we’re seeing and exactly what he likes so much about it.

dick’s standing up straight, shoulders drawn back, looking up at this villain’s face with determination and resolve, but his suit is tattered. one eye looks to be swollen. his hair is falling limply around his eyes, as opposed to the curls from earlier. his escrima aren’t even part of the main focus, instead blending into the side of the mask in the outer corners of the mask’s eyes, which tells you exactly how big of a threat they are to this villain.

poor bitewing’s quite alarmed.

also on second thought why would you bring your puppy out like this, when you know you’re gonna end up fighting someone in the suit. a) how many grey three-legged adorable little puppies live in the bludhaven area dick? and how easy will it be to connect the doggo running around with nightwing with the doggo that dick grayson owns? and 2) is this puppers trained? does she have fighting experience? how exactly can you ensure she will survive this highly stressful situation?

dick take better care of your dog 

you know what? i was with tim on this one. why exactly is dick so optimistic and trusting about the people of bludhaven? bludhaven, which has been described as gotham’s smaller, smellier, more corrupt sister city once or twice. it’s not just the corrupt people in power, the entire system needs to change and people need to have faith and hope in order for them to come together, espcially if they’ve been living in conditions like how bludhaven has been described. from how clueless dick is about his own goddamn city, i can tell he hasn’t been here long.

it was a nice moment of hope, i’ll admit. but it was a tad unrealistic for me.

also it was in a weird place in the comic. this sort of confrontation and big get-together of the people to rejuvenate hope in each other feels like it should come near the end of a run, if not the end of an issue. certainly not in the first third of an issue. the pacing’s a bit off to me.

loyal little puppy patiently waiting for her human to wake up. i love her so much.

no it’s not. it’s bitewing.

living for this t-shirt honestly. do comics of dc characters exist in the dc universe? they must if the mug and the shirt are any indication

(now i’m imagining the first batman movie that came out in the dc universe and bruce just. being so offended at who they chose to play him.)

well, yes. but when a group of people are put through hellish conditions over and over again, they soon become desensitized to the pain and terror of their everyday lives in order to both stay sane and keep their life relatively stable, and part of that becomes ignoring or blocking out anything that isn’t directly important to you or your loved ones. having a bleeding heart will most likely get you killed in a city like bludhaven if you don’t have the same skills that vigilantes have.

and of course, people are more than capable of coming together and rallying under their city’s vigilante after seeing the good they’ve done and how they’ve helped the people, but that sort of trust takes time and effort to build. dick also had the whole ric arc and was gone for a while, which has been referenced several times in this particular issue in fact. that’s not going to make bludhaven’s citizens any more likely to trust him.

maybe i’m being a bit harsh but this comic is comic off as a bit too idealistic for the amount of change nightwing can do in a city given the present and past circumstances as well as nightwing’s own abilities. even dick grayson can’t pull off everything.

ok seriously this needs to stop this needs to stop.

right now, dick reminds me of oliver queen in the few episodes of the cw’s arrow i watched. he does the punchy-kicky-fighty and occasionally has smart insights due to the skills he gained from his past that he certainly definitely totally has but only ever exhibits once, while his team does all of the background research and information gathering and actual work.

this is dick’s city. if he has the same intelligence, worth ethic, and stubbornness in this run that he’s been shown to possess all his life, then he knows this city inside out. he’ll have meticulous notes organized in a ridiculously efficient system, he’ll have scouted out zucco long before this started, he’ll have known when anything big happened in the bludhaven political landscape in an instant.

i’m really not liking exactly how much dick’s relying on babs and tim in this series. sure, he loves them and cares for them and likes working cases with them. but he always pulls his own weight, has always been a mentor figure to tim instead of what’s weirdly becoming the other way around, and takes point on the cases in his own damn city.

what kind of weak-ass oracle is this?? redacted fbi files are child’s play. babs used to hack into the fbi for fun. this one particular picture is so out of character i want to laugh.

reading this series has unfortunately made me confront that, despite the tiny fluid acrobat dick that lives in my head 24/7, canon dick is impossibly 5′10 and muscular at that.

mmm. titties.

tim said hydrate or die-drate bitch

love how dick’s doing all this intense brooding and stuff meanwhile bitewing is curled up in a soft comfy post having the time of her life.

you don’t understand i would legitimately kill myself for her.

also the lighting in this one scene is cool. the blue tones come off so well.

they’re just. so multipurpose!! they can become a bo staff. they can cut glass. they can become a grapple hook/line. they can electrify someone. they’re a funky colour. i’m becoming really attached to these things. absolute solid choice in weaponry.

if you’re gonna write up every rookie mistake dick has made during this series to head trauma, then dick shouldn’t be out and about at all, much less in costume.

see this? this is just straight up wrong. dick most definitely should have spotted her, and would have immediately moved to take her down.

scratch that, dick would have done a full check of the building, because he knows not to break into places uninformed, especially if the owner of the apartment was raised by the maroni family. someone as highly trained, experienced, and competent as dick wouldn’t have done this.

and if you chalk it up to head injury, (which is probably true), than his ~love interest~ and his little brother should have done a much better job making sure he stays in his house.

zucco looks so awkward it’s fucking hilarious

are those shadows that mimic a domino mask, to both reflect and hide the fact that his mask is missing? are those bruises around his eyes, to show how, despite what good he’s doing, being nightwing is hurting dick right now? 

(isn’t his domino mask supposed to have an electrifying feature that keeps people from removing them?)

it’s a little odd how the three known villains of this series are all coloured in warm shades, more specifically pink. meanwhile, in earlier issues, dick’s fondest memories were in pink, memories of him and alfred in particular. why has the colour pink changed from signifying something benevolent to something malicious? idk i hope this gets explained later.

this i did like. either it’s just a display of brute force in anger, or dick slipped the ties and pulled them off once untied. both ways, it’s an unintentional display of power, and i think that’s kinda cool.

again. dick is,,,tall? sort of? weirdddd

i’m so glad most readers are unified in the notion that this was the absolute dumbest fucking thing.

i’m hoping this gets disproved or something soon. and i hope dick doesn’t fall for it, because he definitely knows better than to take something as important as this at face value.

what exactly is taylor trying to accomplish here? why is he trying to go back on what we all knew was a happy, loving childhood and throw strife and disharmony and (what i’m assuming will be) infidelity? this will not end well at all.

---

,,,,,this review got way longer than expected lol. and i realize most of it just became me ranting. i guess i didn’t realize how ticked off i was originally. fingers crossed it gets better.

tag list: @woahjaybird @birdy-bat-writes @anothertimdrakestan @subtleappreciation @screennamealreadyused @bikoncon @pricetagofficial @catxsnow @thatsthewhump @xatanna-troy @red-hood-redemption @capricorn-stark @batshit-birds​ @comics-observer

[girl-in-the-tower]

WHY I LOVE THE SCARABIA CM AND YOU SHOULD TOO

Listen, I don’t even know why you’d actually need to look for a reason to love and cherish this beautiful piece of animation, but to each their own. Regardless, you’re in the right place, because I’m about to gush and cry over this CM just to convince you to show it the same level of love that I feel for it. It’ll be difficult, but don’t worry, I’ll be there with you the entire time. So, let’s start with the beginning. 

What makes this CM different from the others? Well, let’s look at the most obvious aspect: it’s narrated by two people, instead of just the Overblot victim like in the case of the Heartslaybyul, Savanaclaw and Octavinelle. There we had only Riddle, Leona and Azul speak because, obviously, as the Prefects and shadows of the villains they would be the most important characters. You could call that antagonist privileges if you want, but there’s a reason a show with a big cast doesn’t go in depth with every single one of their characters. Not only would it be infeasible, but also useless. Narratives need a point of focus, otherwise they end up disjointed and incomprehensible. 

So why didn’t this CM just have Jamil narrate? He’s the antagonist of chapter 4, after all. Shouldn’t he get his own moment in the spotlight, separate from Kalim? Well, yes and no. For you see, the thing about Scarabia is that unlike other dorms the relationship between the Prefect and vice dorm leader is much more complicated. By which I mean that no other vice dorm leader is an indentured servant to the family of their dorm’s Prefect. Trey is Riddle’s childhood friend, Ruggie sticks with Leona because it gives him a better chance for survival, the Leech twins stay with Azul out of curiosity, Rook admires Vil, Ortho is Idia’s little brother (?) and Lilia has served as Malleus’ parental figure.

(Also, yes, I’m counting Ruggie and Ortho as vice dorm leaders since that’s basically their role anyways.)

None of them are bound to their Prefect. Trey has a life outside of Riddle, Ruggie will drop Leona like a sack of potatoes if the latter gets too much to deal with, the Leech twins EXPLICITLY say that they will turn on Azul if they get bored, Rook actually points out Vil’s flaws to his face, Ortho doesn’t let his brother get away with everything and Lilia’s position is more of a trusted family friend, than an actual guard/babysitter. The point I’m trying to make is that all these people have choices when it comes to their relationships with their respective Prefects. They stay by their side out of their own will and not because someone is forcing them to be there. 

The same doesn’t apply to Jamil. He can’t just decide to leave Kalim’s side one day, because he was getting sick of looking after him. And that’s because he didn’t have a choice in being by his side in the first place. That decision was made for him by his parents. Because that’s how indentured servitude works: when you’re in the service of a lord, especially if you’re a poor peasant, your period of time decided upon entering the contract tends to extend to future generations as well since you’re not given any money to save. Most peasants that found themselves in such positions often would marry and start a family while still in the service of their lord and should they die, their family, unable to provide for themselves because their whole life was spent doing unpaid labour, will also enter the same contract. This process would go on until either slavery, which this most certainly is, was banned or the lord decided to set you free. The former was much preferable to the latter, because in a feudal system to be set free by your lord often marked you as an undesirable servant. You would be hard pressed to find a lord that would ‘hire’ you after finding out your former ‘employee’ decided to ‘fire’ you. So it would be very rare for indentured servants to actually manage to free themselves from that position. 

This is precisely where Jamil’s frustration arises from as well. As a capable individual, he’s acutely aware of the limitations his status imposes on him. He’s a servant of the Asim family from birth, much like his parents and grandparents were before him. This is not something he chose for himself, but rather something that was imposed upon him. Herein lies the central issue that defines Jamil’s character: lack of choice. Much more than any character, Jamil’s life is governed by the limitations that arise due to his social position. We see that ever since his childhood he was forced to always take into consideration Kalim’s abilities and model his performance as not to eclipse him in any way. If Kalim placed second place in a dancing competition, Jamil must not be among the top three. If Kalim’s grades slipped, his own grades must as well. If Kalim lost two times in a row at mancala, Jamil must make sure he loses the next three games. Yet, paradoxically enough he mustn’t fall behind too much either, for that would make him a useless servant. And as I pointed out before, inept servants are not considered desirable by those in power. 

It is in essence a balancing act that Jamil must make sure he adheres to strictly, as not to bring shame to the Asim family to whom he is, in theory, loyal. In relation to Kalim, Jamil must make sure he performs poorly, but in relation to others he must make sure he performs well. It’s that precise position between exceptional and ordinary that he must achieve, and according to Azul, Jamil is excelling at that.

Azul: You usually never make yourself stand out—A wallflower, so to speak.

You make sure not to stand out academically, too. Whether it’s with class standing, or with practical training. But, at the same time…

You never get failing scores. (4-37)

Yet the question we must ask is why? Why must Jamil follow these demands? 

Well, for one it’s the issue of the indentured servant that we have discussed before. Jamil is bound to the Asims and going against them will bring repercussions not only on himself, but on his family as well. In the modern age in which Twisted Wonderland seems to be set in, this would not be much of an issue, we would guess. However, while that might be true, we must consider it not only from a logical perspective, but a psychological one as well. The human brain is fascinating in the sense in which it is able to transform information into patterns. And nowhere is this most apparent than in the impregnation of cultural norms into the mind. We tend to think of some things as innately ‘normal’ and ‘ordinary’ and everything that goes against those beliefs as ‘perverse’ and ‘immoral’. For example, up until a few decades ago, the idea of women as second-class citizens was seen as a perfectly reasonable notion. Those that did not agree with it were considered troublemakers and agitators, and if there’s anything the human individual loves more conformity, it’s ensuring that it’s enacted upon the population at large. The nail that sticks out gets the hammer, as the saying goes. 

But what does this have to do with Jamil? Well, the fact is that his role, as Kalim’s servant, comes with certain social expectations. 

Jamil: Kalim’s parents were always better than my parents. That’s why… Kalim should be better than me, too. That’s why, I could never surpass Kalim when it comes to studying, exercise, and even playing— (4-36)

The role of a servant is that of support. The Master leads while they provide the conditions and the means to do that. That is precisely the position that the Viper family is supposed to take in relation to the Asim family. For a servant to surpass his master, it leads to a deeply problematic realization: that one’s status is divorced from one’s capacity. Medieval rule was often characterized by monarchs assigning themselves as God’s anointed on Earth. Their right to the throne was not ensured by their capacity or disposition or ideals, but simply by their nature. They were meant to rule, because of the social class and family they were born into. Nothing less, nothing more. It was instinctively understood that there was a great differentiation between them and the common people and that was translated in their position as those to be considered ‘elevated’. They did not mingle with the common folk, because that was beneath them. 

And unfortunately, that is a cultural inheritance that is not easily done away with. For though we might claim we left behind the days of feudalism and vassals, there is still a great divide between social classes. It merely took a different form. Lords of the castle turned into politicians, celebrities and glamorous multimillionaires. A rose by any other name would smell as sweet, as Shakespeare would put it. Call it what you will, but the end result is that social divide still exists. And we can see that is the case in Twisted Wonderland as well.

Though the game tends to gloss over it in certain aspects, by having Leona’s reception by the main student body be as that of a lazy Prefect, and Malleus’s position is often eclipsed by his elusive attitude, it is constantly made clear that Kalim is someone with an important social background. We might have to be reminded that Leona is the second prince of the Afterglow Savannah, or that Malleus is the next king of the Valley of Thorns, but we aren’t offered the same discretion with Kalim’s character. He is almost always introduced as Kalim, the heir of a multimillionaire family. It is thus impossible to separate him from this title, and by extension, Jamil as well. Whether he likes it or not, as the servant of the Asims, Jamil is tethered to Kalim by being a part of his social image. No true Master can exist without servants, and no servants can be had without a Master. The two are reliant on each other, much like Kalim and Jamil are reliant on the other to define their position in life. 

Kalim is the son of a wealthy family because he has Jamil to prove his special status. Jamil is a servant of the Asim family because he has someone to serve. But whether he wants to be part of this system and have his identity be defined by this connection is out of his hands. And that’s the truly unbearable notion that Jamil has to deal with in his chapter: no matter what he does he is never in control of his own life. It’s always something that is decided for him.

This, in itself, is not coincidental I would say. You see, besides being interesting social commentary, it is also an unexpected look into the underlying themes of Disney’s Aladdin. If we were asked to describe what the movie is about, I think it’s safe to say most of us would cite “poor street-rat learns a valuable lesson about not pretending to be someone else and marries the princess” as the answer. And we would not be wrong. It’s obvious that “Be Yourself” is one of the most important lessons Disney wanted to teach to young children and this in itself is not a bad thing. But while these might be understood as genuine life advice at a young age, as adults we often tend to look more closely into the themes and motifs of the movies that shaped our childhoods. And thus I would argue that Aladdin is more than just a story about interclass romance, but rather a look into how the social class system functions as a whole. Aladdin, the main hero, is a street urchin with no money to his name. Jasmine, the heroine, is the daughter of one of the most powerful men in the land. Their romance and subsequent marriage is interpreted as a victory over a flawed and classist system, because they managed to surpass the limitations imposed upon them by society and ‘be themselves’. And though this is a heartwarming message to see performed on screen, it’s important to remember that there are more than just the protagonists in the story. Alongside them we have three more characters we must pay close attention to: the Sultan, Jafar and the Genie. 

To do a short summary:

The Sultan: Jasmine’s father and the most powerful man in the country, but rather bumbling and childishly naive. As is typical with Disney parents who are still alive by the start of the movie, he is a figure that possesses authority merely in name. Though kind and generally well disposed, he lacks any real power when it comes to the plot of the movie being tricked by both Jafar and Aladdin, as Prince Ali, and ultimately having to rely on the latter to be saved from the former. The Sultan is the quintessential look at a spoiled monarch whose rule is being facilitated by someone more competent than him, and this informs most of his character as a result. He himself might be a doting and benevolent figure, yet his reign is a prosperous one by accident not by his own making.

The Genie: The spirit who resides in the lamp that Aladdin finds in the Cave of Wonders and who becomes his ally in his quest to marry Jasmine. Perhaps one of the most memorable characters in the movie, thanks to the late William Robbins’ performance, Genie's entire quest in the movie is to achieve freedom by helping out his Master. The parallels between him and the indentured servant position are made abundantly clear by the fact that he is bound to Aladdin until the latter agrees to set him free. Genie’s role in the story is one that is important, but his position is one that mirrors Jafar: they are in the service of someone who is less than them, whether it be competence or magical ability. However, while Jafar detests his position and the Sultan, Genie becomes a father figure to the protagonist. The fact that the two exchange places (Jafar is turned into a Genie and imprisoned, Genie being set free and retaining all his powers) stems directly from how they relate to their social class. Jafar is self-serving and ambitious and Genie is altruistic and self-sacrificial. Genie thinks of the happiness of his Master, though he is still displeased by the concept itself, and for that he is rewarded, proving that putting the well-being of others above your interests is the way to happiness after all. That is, if you’re a Disney hero.

Jafar: The Grand Vizier and the second most powerful man in the land, but is a scheming backstabber that plans to take the throne for himself. As one of the most easily recognizable Disney villains, Jafar makes a strong impression through not only his design, but through his philosophy as well. He’s in spite of his high rank, still pretty much a servant, having to ensure that the rule of the Sultan is enacted accordingly. Yet, as an antagonist he makes certain that whatever he does is in his own interest as well. To say that he is ambitious would be an understatement, but what is it that he wants exactly? There is no clear answer, but the closest we can get to is that Jafar wants power. 

But wait, you might say. Didn’t Aladdin also want that? Why is only Jafar the villain, if they were both after the same thing?

That is a good question! And the answer to it is yes and no. Though indeed, both Jafar and Aladdin wanted power it was for different purposes. Aladdin wanted it for the sake of overcoming his social limitations and thus becoming a worthy candidate for Jasmine, while Jafar wanted power for power’s sake. The lesson that Aladdin learns is that he shouldn’t have attempted to do that, because it would have never worked out in the way he intended it to. Though Jasmine can bring herself down to his level, he cannot bring himself up to hers since it would disrupt the social system. One cannot rise up to a higher social standing through power alone, they need recognition as well. Which is why marrying Jasmine becomes an important plot point. Jafar, who achieved power through his scheming, still lacks the recognition, which can only be granted through marriage to a royal or someone of higher social standing. He fails to achieve it, because his rise in social ranks did not have a ‘noble’ purpose like Aladdin’s but it merely satisfied his own agenda and needs.

Jafar’s status as a villain is thus due to the fact that in Western media ‘Ambition Is Evil’ is one of the most prevalent tropes. Think of the Becky Sharps, the Slytherins, the Lucifers, the Littlefingers that populate our literature, their evil nature is more often than not tied to their necessity to rise above others. 

To reign is worth ambition though in hell; 

Better to reign in hell than serve in heaven. (Paradise Lost)

Power corrupts, and ambition corrupts absolutely. Disney characters thus often learn that it is better not to be swayed by power from their role in society for the sake of power, or they will pay the heavy price for doing so. That is why Jafar fails and Genie succeeds, because they related differently to their role in their Master’s lives. 

And that is a theme that Twisted Wonderland also touches upon in Jamil’s story. Twisted from Jafar itself it was inevitable that his story would deal with such a topic. However, what deeply impressed me was how self-aware the narrative had been in regards to it. 

Ruggie: I feel bad for you. By helping out Kalim you have burned your hands considerably. (R Card School Uniform)

Jamil: I want to avoid standing out. I can’t be satisfied with this. I cannot be too good, nor fall behind, and neither should I get satisfactory grades or fail. This is the best shortcut to success. (SR Card Lab Coat)

Jamil: I am a sworn servant to the house of Asim and thus have a duty to protect the master. (SR Card Ceremony Robes)

Azul: You are always welcome in Octavinelle should you find yourself freed from Kalim. (5-10)

The matter of Jamil’s role as Kalim’s caretaker is one that has been brought up at several points throughout the game. This is usually done with the express purpose of reinforcing his status as his servant, but also to affirm that it is indeed this very position that is preventing him from achieving his full potential. 

Azul: If you look at your grades, there are no visible gaps in your classroom lectures, practical skills and physical training. Even I have a weak point when it comes to flying… For you to not even have such an instability is frankly amazing. It is like you can tailor yourself to suit your needs. (SR Card Lab Coat)

Just as Azul remarks Jamil holds himself back on account of his need to perfectly perform a certain persona: the reliable valet. It is a character we often see in media disguised as the Hypercompetent Sidekick or Servile Snarker, who is by his very nature much more accomplished than the master, but must out of financial necessity submit himself to someone else. Or in Jamil’s case, out of filial obligation. And this is where the comparison with Jafar becomes important because while Jamil does embody Jafar’s ambition, it is not treated in the same manner as in the movie. Jamil’s motives for betraying Kamil are similar to the villain: he wants to impose himself upon others and overcome his social position. Having been raised in servitude since young he has been forced to ‘tailor himself’ to the demands and expectations placed upon him. However, because this position has been imposed upon him and it wasn’t of his own volition, Jamil comes to resemble the genie much more than he does Jafar. Which is completely intentional, I believe. But we’ll get to that soon enough. 

Taking this into consideration it is interesting to note how the resolution of Jamil’s arc differs from Jafar’s in terms of narrative. The end of Aladdin has us witness the defeat of Jafar at the hands of Aladdin, his imprisonment in the lamp and the release of the genie from his bonds of servitude. It is, of course, a typical Disney happy ending: the villain was defeated by his own hubris, while the heroes prevailed through self-sacrifice and cleverness. The main character has learned the necessary moral lesson (cynically phrased as: do not aspire to overcome your social class through hard work, but wait for recognition from your superiors) and all the characters that aided them during their journey get rewarded as well. It’s the culmination of the Disney formula that selflessness and altruism are the values that separate the heroes from villains, and by extension good from evil. Evil only seeks its own interests, while good works in the interests of others. So what about Jamil?

The end of the Scarabia arc is quite ‘Disney’ to a certain degree: the villain has been exposed, the heroes send to the other end of the ‘world’, they get their second wind, defeat him and live happily ever after. Well, not really. You see, what happens before the heroes go to defeat the antagonist is that Kalim breaks down crying due to Jamil’s betrayal and Azul remarks the following thing:

Azul: Kalim’s gentle disposition towards others is completely different from Jamil and I… No… Taking into account everything, he probably built a grudge over the years. You have been causing trouble for Jamil since you were little, after all. However, you are not in the wrong. You were born a cut above the others. You were loved by everyone around you and we were raised under such a good environment.

You were simply unaware of the greed you’ve been showing. (4-34)   

Jamil’s actions aren’t excused, because they are indeed those of a villain: plotting, backstabbing and double-crossing the heroes for his own gains. Yet, they are not simply attributed to his ‘evil’ nature, but rather explained by the environment in which he was raised and the morals that were instilled in him. Jamil is not evil, but rather merely desperate enough to resort to evil means. And that is a profusely important distinction. Though we might commit malicious acts that does not mean that we are malicious by nature, much as committing benevolent acts does not make one irreproachable. And Twisted Wonderland understands this notion: not in the sense that Jamil was right in what he did, but rather than we can understand why he felt like he was pushed to such extremes. 

Jamil’s story is one of the more complex ones, in my opinion. It speaks about an issue much deeper and much more insidious than any that have been explored so far in the game. The result is that unlike the other three previous Overblot victims, Jamil has no clear-cut solution to his problem. Even after the incident he is still in the service of the Asim family. Even if Kalim asserts that they are equals at school, he still will remain a servant everywhere else. No matter what he does he is bound to the Asim’s and more specifically to Kalim. 

I feel like this would be the note on which I should safely conclude this very long introduction, as we move further and into the real meat of this post: the analysis itself. Thus, without further ado, let’s see why this CM is such a treat from a symbolical and storytelling perspective.

The opening of Aladdin (1992) is perhaps one of my favorites due to the fact that it seeks out to reference its source material: One Thousand and One Nights. By that I mean that it utilizes a technique known as the ‘frame story’: a story which contains within it another story. In the novel the framing device is Scheherezade, the vizier’s daughter who upon learning that she will marry Sultan Shahryar and be promptly killed at dawn, devised a plan to subvert her fate. She would each night begin a tale that would leave the Sultan so enchanted that he postponed her beheading until the next day so she might finish her tale. However, upon finishing the previous story Scheherezade would continue with another one and so on and so on until she eventually managed to avoid death for one thousand and one nights. Hence the name of the collection. 

Aladdin uses a similar device in the character of the Merchant who appears at the start of the movie and introduces us, the viewers, to the world of Agrabah which is a place “where they cut off your ear if they don’t like your face” according to the original lyrics of the song. But it also includes a shot at the end of the movie which has the Genie lift up the ‘wallpaper’ and speak directly to the audience. These scenes, though easy to disregard, do reinforce the fact that the movie we’re about to see is not taking place as it happens, but rather a second-hand account of it. Much like Scheherezade attempts to avoid her decapitation, so does the Merchant at the start of the movie attempt to convince us to give the story a try, become immersed and then abruptly reminded of the fictionality of what we have just witnessed. And I don’t mean in the sense that it is a movie, but rather in the sense that even within the logic of the movie, this whole set of events has a certain fictionality to it. The fact that initial plans had the Genie and the Merchant be the same character only strengthens this notion. 

But the Scarabia CM doesn’t start with the Merchant now, does it? No, it does not. But rather it starts with the very first image of the movie itself: purple smoke against a red flaming background. Except that there is no red flaming background this time, but a calming blue shot of the dunes with what appears to be the Scarabia dorm building in the background, or even Agrabah itself. There is no smoke either but sparkling dust that emanates from a lamp half-buried into the sand. The images are clearly meant to evoke the general aesthetic of Aladdin (1992), but they can also be interpreted symbolically. 

The imagery of smoke is often one of ascension, of leaving the earthly shackles and rising higher towards the spiritual world. But it is also a rather solemn symbol as well, given that it can also be associated with the burning of corpses. Its presence in the movie is explained by the fact that this is after all a story about liberation: most obviously the Genie’s, but also the other characters. Everybody wants to be free in some form or another. The colour symbolism is also interesting to remark upon as according to Richard Vander Wende, the production designer of the original film, certain colours have different meanings within the movie. Red symbolizes heat and evil, while blue is a calm colour associated with water. The red background thus carries negative connotations, but it is eclipsed by the presence of the smoke in the foreground, that is a combination of red and blue. If we were to interpret this visual choice we could claim that the movie is trying to let us know that the story we are about to watch is one in which morally-grey protagonists overcome the forces of evil. For, even though Aladdin is our main character, he is not a pure hero by Disney standards as he is after all a thief and the lesson he has to learn is that he should not attempt to scam his way into a better social position. 

But the Scarabia CM uses a blue background instead, so this is certainly not the same message it might try to send. Rather, due to the positioning of Scarabia/Agrabah in the background, I believe that it is indeed a story about rising above, but not above the forces of evil as much as above social norms accepted as standards. The Scarabia storyline is very much centered around the notion of social positions and how they function within a system of indentured servitude, as is obvious through the way in which Jamil attempts to overcome the position of servant through schemes and planning. We most certainly encounter the thread of evil within his character, but though his methods are unsavory, his end is, I would say, understandable: freedom. 

Jamil: For me, and my family... I'll do anything for our sake!!! (4-31)

Jamil: I’m done playing servant!! I WILL BE FREE—!! (4-32)

The choice of a blue background might thus allude not necessarily to goodness as in the moral concept itself, but rather to the comfort of social norms. There is a certain stability to be had in a system that declares that all those born into wealthy families shall remain wealthy, and all those born into servant families should remain servants. To quote Aladdin: “It’s barbaric, but hey, it’s home.” (Arabian Nights) In such a system that relies on absolute conventions regarding social classes, someone like Jamil is a threat, because he questions and subverts the limitations imposed upon him. He is smarter and more capable than Kalim, yes, but because he must ensure that he does not draw negative attention upon himself, he is forced to adhere to a lifestyle that is not representative to whom he truly is. The similar shape of Scarabia and Agrabah only serves to highlight that regardless of his environment, as long as he remains a servant through his bond to the Asims, he shall never be able to change his destiny.

The lamp is the most important object in Aladdin (1992) as it is the MacGuffin that is coveted by Jafar and the prison of the all powerful entity that is Genie. The lamp in the movie has thus two connotations: power and imprisonment. The juxtaposition between the two creates an interesting image of how power changes according to one’s position in society. Though Genie’s powers are indeed great it seems that he is incapable of wishing himself free, which is I think a good analogy to the position of indentured servitude in which only a lord’s permission would be capable of restoring an individual’s freedom, even though they would be in theory capable of physically leaving their place of servitude. Their choice not to is not only a reflection of the possible corporal punishment they would endure if captured, but also due to the social contract that forced them to remain in that position. As servants they would remain branded forever as second-class citizens at best or dangerous felons at worst. Not a fate one would ever wish upon themselves in those days. 

It is clear that besides Jafar, Jamil also bears quite a lot of similarities to Genie.

It’s like being the genie of the lamp, calling me anytime and anywhere. (Jamil Chat 1)

As I mentioned above, Disney draws an interesting parallel between Jafar and Genie when it comes to relating towards their ‘superiors’: Jafar despises the Sultan and wishes to disposes of him, while Genie forms a parental bond with Aladdin and even reluctantly agrees to remaining bound to the lamp if it means his ward’s happiness. The fact that they exchange positions at the end (Jafar being imprisoned in the lamp, Genie being freed) is the result of the moral choices they make. Genie’s altruism is what allows him to be freed, while Jafar’s ambition is what traps him as thus is the rule of Western philosophy: the needs of the others are superior to our own. 

But ignoring Jamil’s OB for now, we realize that he does not truly commit to either one of those positions. He is resentful of his enslavement at the hands of the Asims, but I believe he does not genuinely wish harm upon Kalim himself, but rather towards the system as a whole, which is represented by him. This is an idea we’ll return to eventually, but it is important to mention it in advance, because it paints a better picture of what Jamil’s true intentions were during his attempt to take over Scarabia. It was not power for power’s sake as in the case of Jafar, but rather him trying to assert control over an aspect of his life, which in this case would be his position within the dorm. Jamil isn’t truly interested in the position of Prefect as is, but in what it symbolizes: freedom. As Aladdin shows power is not synonymous to freedom, but rather something adjacent to it. Even a most powerful creature like Genie is bound to the whims and wishes of a mere mortal, much like Jamil is bound to those of Kalim. To overthrow him as Prefect would mean to assert himself as independent of social bonds by having no one be superior to him anymore. Yet, because he does it through immoral means he fails and thus keeps in line with the moral of the movie: you cannot advance socially without the approval of your superiors.

The moon is one of the most referenced symbols in literature due to the fact that it innately appeals to writers and poets alike. It is fundamentally female in nature, due to its connection to the Roman Diana and the Greek Artemis, and associated as a result either with the concept lunacy, to which it lent its name, as well as with witchcraft, solitude, power and change. The moon’s circular shape as observed from Earth is also associated with the notion of eternity and cyclicity, which is perhaps the symbol that is of most interest to us when it comes to Western interpretation, as in Japanese culture the moon can represent a person’s core, unaffected by others. It is more succinctly put a representation of the Self, that which is considered quintessential to one’s identity. And it is this imagery which the CM tends to gravitate towards I would argue.

The moon is a particularly prominent symbol in Aladdin (1992) as it symbolizes the notion of change and new beginnings. Aladdin and Jasmine’s flight during the song sequence “A Whole New World” uses the moon as a backdrop and confers upon it a romantic aura of serenity and calmness, which is referenced towards the end of the movie wherein they fly towards it upon their success at convincing Jasmine’s father to allow their marriage. The moon in this regard is symbolic of unity and fortune, synonymous with true love’s conquest over everything else. But there is also a comedic twist to it as seen in the very last scene of the movie wherein Genie’s face is projected upon it. It is thus primarily a positive symbol associated with goodness.

The CM however is closer in meaning to the notion of the moon as the human core observed in solitude. Unlike the moon in Aladdin, whose shadows are barely perceptible and thus looks more natural, the moon here is overtly engulfed by darkness, with the sole space of light providing a sharp contrast in tone. It is not a symbol of unity, but rather of division creating barriers and boundaries between the characters who are positioned at opposite ends of the circle. Kalim, as a superior in terms of social and financial power, is situated upon the side that shines brighter to symbolize his role as the face of the dorm. He is the Prefect, the one that represents his dorm and the ideals that it is founded upon. Yet, upon further inspection we notice that the word ‘Scarabia’ appears on Jamil’s side, which is not only the dark part, but also takes more space. It is an unequal division but so is much of their life: Jamil remains in Kalim’s shadow, though it is only due to the former’s help that the latter manages to shine as a Prefect. This is confirmed by the positioning of their dorm’s name on Jamil’s side, as he is in fact the one that more overtly exhibits the ideals of careful planning that the Sorcerer of the Hot Lands is known for.  

Kalim’s face change is interesting if we consider the notion of the moon representing the human core on which one’s identity is formed, because it confirms that he is indeed as cheerful as he appears to be. His cheerful disposition though likened to the image of the sun, lacks the usual masculine and aggressive features associated with it in Western culture, as he tends towards more feminine ideals of pacifism and serenity, which are associated with the moon. Moreover, as it has been pointed out to me, if one is to consider the Japanese cultural context we would be able to observe that the feminine characteristics of the sun are in perfect accordance with the female interpretation of the star in the form of Amaterasu. His body language is relaxed and openly friendly and there’s nothing about him that truly stands out in terms of contradictions. 

Jamil on the other hand presents an entirely different picture. His stance is guarded, that much is certain, and his expression is to be considered at best wooden. Unlike Kalim’s dynamic movement, he remains static and unchanging, sporting merely a look of resigned indulgence towards Kalim, and it seems to a certain extent as if he asserts control over his own reaction towards it. In other words, it is not in the slightest bit natural. Moreover, what does attract our attention is not his expression as in the case of Kalim, but rather the shine of the metal of his choker. 

Unlike Kalim which is bathed in light in warmth, Jamil is surrounded by dark and shadows, with the sole point of light being the metal around his neck. This is different from Kalim whose accessories do not stand out in the same vein. The reason is that on a fundamental level they represent entirely different notions. In Kalim’s case it is a representation of his wealth and power, with the lack of focus on them hinting perhaps to the fact that he is at ease with his position as the heir of a multimillionaire family. It does not stand out because that is his right by birth and thus just a natural part of himself. Jamil’s core, on the other hand, reveals that his identity is very much forged by the Viper’s bond to the Asims. 

Jamil: I’ve been looking after Kalim ever since we were kids. That’s the Viper family’s duty. (Jamil R School Uniform Lines)

In Kalim’s case the accessories are just that: accessories. But in Jamil’s case they are a mark of servitude. They stand out among the darkness because this is how he perceives his own persona: dominated by the image of the loyal servant who is socially inferior to his master. Even the metal itself seems to have a silver tint, rather than gold, symbolizing that even though he and Kalim should be equal (both sporting gold chokers) reality is very much different, since he is forced to be subservient even though it goes against his instincts.

It is interesting to note that in Aladdin (1992) the notion of space and how it relates to characters plays a significant part. Agrabah, the setting of the movie, is a place of social division in which those of lower status live in poverty, financial distress and crowded spaces, whereas those of a higher status enjoy the luxury and the vast space provided by the palace. Compare the streets of Agrabah during “One Jump Ahead” which are constantly filled with people, objects and animals and project an image of recurring chaos, to the quiet serenity of the palace where the Sultan and Jasmine live. The contrast is staggering. But more than that it is indicative how much social class can make a difference. 

It is also interesting to note that with the exception of the Sultan, all characters have at some point transversed these two spaces: Jafar and Aladdin move between the city, the palace and the desert, Jasmine sneaks into the city in order to experience real life and the Genie has access to a fourth space in the form of the lamp. However, the Sultan always remains within the palace walls. The reason for that is rather obvious: it is the seat of power and to leave it would be to admit to inferiority in regards to his position. Unlike the other characters that long for something more, the Sultan is content in his role as representative of financial and social power. He does not need to switch locations, because his static nature is what allows the other characters to progress in their journey. 

The CM builts on this premise as well, by showing us the very different worldviews that Kalim and Jamil experience. Fulfilling the role of Sultan, Kalim is surrounded by luxury and comfort, as he rests in his room at the dorm. The colours are warm and calming, as the light very gently illuminates the room in order to cause an impression of coziness, which fits perfectly with his own character. Kalim’s personality is at its core a ‘refreshing’ one, orientated towards creating harmony and a content attitude. All his life was spent among servants that catered to his every whim and desire, so his sense of independence was greatly stifled. If we may put in blunt terms, he’s sleeping through life, relying entirely on his social position due not necessarily to laziness, but rather naivety. Because he never had to leave the palace walls, he never had to develop any sense of autonomy and thus has managed to remain faithful to his social role. He does not experience a sensation of contradiction between who he is and who he is regarded as because he lives in accordance to the characteristics deemed appropriate for him as a member of the elite.

The same cannot be said for Jamil. Juxtaposed with Kalim’s scene we see Jamil walking through the desert as the harsh light shines upon him. There is no comfort to be found in this particular shot. Whereas Kalim is sleeping peacefully and at ease, unaware of the difficulties of life, Jamil is wide awake. Unlike the former, the latter’s life is dictated by restrictions and hardships, all which he has to endure without showing displeasure as befitting his social role. He does not have the privilege of laying around not only due to the demands that are made of him, but also due to his innate desire for change. The desert can thus very easily symbolize the unfairness which he has to endure as a servant, but it can also symbolize his ambition and the effort he is willing to spend on making sure he can change his social status. Unlike Kalim, who rests in the palace, Jamil seeks to escape its confines even if it means enduring hardship. For you see, though the palace is indeed a place of stability, it is also a prison.

The similarities between Agrabah’s palace and the Scarabia dorm building are most certainly intentional. They’re places of unimaginable wealth that function as status symbols for the people that control them. Agrabah is, as we mentioned before, heavily divided, but it is paradoxically the slums that offer more freedom than the palace itself. Looking back at the movie we notice that the biggest symbol we can associate with Jasmine is the bird in the cage yearning to be free. The notion, moreover, is also supported by imagery such as setting the birds free after a talk with her father and, as it had also been pointed out by other critics, that the canopy of her bed is designed to resemble a birdcage. As a princess Jasmine is bound by social roles and conventions to adhere to the expectations placed upon her, and her journey in the movie is to assert herself as an autonomous person before her father by insisting that she be allowed to make her own choices. The problem however lies with the word ‘allow’ itself which once again contradicts her ideals. The notion of allowing someone to do what they want situates the power in the hands of the person who is recognized as the social superior. In the case of Jasmine, it is her father, the Sultan. In the case of Jamil, it is the Asims. 

The Scarabia dorm as a symbol of the prison is an obvious one due to the fact that it served as such for Grim and Yuu during episode 4. But that is what we might refer to as physical confinement, which at its core is not compatible with the message of the CM and even of the movie. Because the CM does not focus on Grim and Yuu, but on Jamil and Kalim, so this is not a case of a physical prison, but rather a mental one I would argue.

In several respects, the prison must be an exhaustive disciplinary apparatus: it must assume responsibility for all aspects of the everyday individual, his physical training, his aptitude to work, his conduct, his moral attitude, his state of mind; the prison, much more a than the school, the or the army, which always involved workshop certain specialization, is 'omni-disciplinary'. Moreover, the prison has neither exterior nor gap; it cannot be interrupted, except when its task is totally completed; its action on the individual must be uninterrupted: an unceasing discipline. Lastly, it gives almost total power over the prisoners; it has its internal mechanisms of repression and punishment: a despotic discipline. It carries to their greatest intensity all the procedures to be found in the other disciplinary mechanisms. (Foucault 235-236)

Foucault’s Discipline and Punishment: The Birth of the Prison is an interesting look into the social and theoretical mechanisms employed by prisons in order to ‘reform’ convicts. The end goal of these institutions is to reintegrate the individual into society and to achieve such a thing it is not necessary just to punish and torment them, but to discipline them. By this Foucault understood as allowing one’s life to be entirely dictated by “a disciplinary apparatus” decided by those within power. It’s main aim was to restructure one into a “docile body” beneficial for the economical and political necessities of that specific age, which in many cases referred to the idea of one being content to pursue the interests of the state and those that governed it. 

I bring this up because I can see the same ideas reflected in Jamil’s character arc as well. Foucault mentions that the prison is a space in which discipline is uninterrupted and unceasing. In other words it is a space which constantly reinforces the ideals that are considered desirable, and we can see that Scarabia unintentionally functions the same way. It is a space in which Jamil is cast as inferior to Kalim once again, trapped into the position of Vice Prefect, despite the fact that he embodies the ideals of the dorm more than he does. Though this is a different place, his routine has remained unchanged: he must still cater to Kalim’s wishes and perform the role of the servant, despite the fact that in theory the two of them should be equal now.

Scarabia Student B: Our family standing and status shouldn’t matter inside the school! We’re all equal here, right? (4-18)

Under normal circumstances, Night Raven College is supposed to be a neutral space in terms of social standing. Leona and Malleus are recognized as princes, but are not given any particular attention in terms of political and social superiority, and rather scrutinized due to their peculiar attitudes and personalities. They are, in theory, equal to the other students at the academy and the same should apply to the relationship between Kalim and Jamil as well. But things are not so.

During episode 4 we find an interesting detail about Scarabia: it seems that the building had been renovated once Kalim was accepted into the dorm. This is not usually a detail that would require any particular attention, but it reveals something about the environment in which Jamil resides: it is representative of the Asims. The ostentatiousness and extravagance are the result of their direct influence and thus molded by their own desires. By remodeling the building they have reforged it into an image of their social position and installed a member of its own family as leader. Its neutrality has been compromised and so has Jamil’s attempted escape. Attending Night Raven College is not merely a case of attending one of the best magic schools in the world, but also one of asserting one’s independence. Jamil was given the chance to finally break free from the system that has had him ensnared for all his life, only to have his hopes be dashed by being reminded that in the end the influence of his masters is much greater than he could have anticipated. Thus, Scarabia was turned into a space of imprisonment which perfectly replicates the dynamics of the Asim household and thus denies Jamil any possible form of freedom. Much like Genie and Jafar at the end of the movie, he is unable to escape his prison without the approval of his superiors.

Jamil is aware, however, that he is not and will most likely not ever be able to receive such freedom from the Asims. And consciously he knows he cannot attempt to break free on his own either. 

Jamil: My family, the Viper Household, has been serving the Asim Family since olden times. A retainer drawing his sword against his master is unforgivable. Even more so, if Kalim’s father found out about it, my family will end up being punished. I’m sorry, but I cannot put my family in danger just because of a selfish request. (4-18)

Jamil’s sense of filial duty is one of the driving forces behind his character. It’s not only that he himself wants to be free, but wants his family to be released from their bonds as well. Because the system in which he has been raised permits a master to punish an entire family for the disobedience of one member it becomes understandable why Jamil is such a guarded person. It is not merely his own person that is at stake, but the lives of those he cares about also. It is a thought that has weighed heavily upon his head since young childhood most likely, once he became aware of how exactly the social system set in place works. To go against it would not be an act of brave rebellion, but that of sentencing others to punishment to fulfill his own ambitions. Which for a character twisted from Jafar seems contradictory. Yet we must remember that he has certain traits of Genie as well. Unlike him whose loyalty lies to his Master, Aladdin, Jamil’s loyalty lies to his family. He’s only willing to endure things as they are now due to the fact that rebelling would mean having them suffer the consequences. And Jamil is aware of that.

Yet, it is also necessary to ask the following question: Why does he end up rebelling in the end?

The most obvious answer: accumulated frustration. 

As I stated before, Jamil does not hate Kalim. However, it is also obvious that his Overblot had very much to do with the fact that he had become increasingly irked by the latter’s attitude to life. His critique of Kalim’s character, though harsh, was entirely accurate. Kalim is indeed spoiled and naive to an almost ridiculous degree, even though it is not entirely due to his own fault. Moreover, it is not necessarily these particular traits that Jamil takes issue with, but rather his predilection towards inaction. To briefly reference a previously discussed shot: though Kalim is content in his passivity, Jamil cannot abide by the current system. He desires change, but he knows he is in no position to enact it and is thus frustrated that the one who would be able to perform this task is oblivious to the struggles of those around him. Jamil does not hate Kalim as a person, but rather that which he represents: the power of the system itself. As the CM shows Kalim is able to move forwards, uncaring of limits and boundaries, but uninterested in change (initially) while Jamil, though he desires to advance, is stuck in one spot. 

The brief image of Kalim reflected in the surface of running water captures this concept perfectly. Jamil is not looking at Kalim as he is, but rather as perceives him to be: an unclear image. Water has the same reflective properties of mirrors, but due to their unstable state they cannot portray accurate images. Jamil attributes maliciousness to Kalim’s denseness as not only a means of explaining his actions, but as a way to excuse his own eventual betrayal of him. If Jamil considers Kalim as a representative of the system, he feels justified in his actions and thus more willing to go through with them, since he can project his frustrations upon a material, solid person rather than an abstract entity. Kalim is in a sense a scapegoat for Jamil’s anger.

The snake is laden with multiple meanings being both a manifestation of evil (Satan taking the form of a serpent to trick Eve into sinning) as well as a symbol of rebirth and transformation. In keeping with the colour motif of the movie the serpent staff that Jafar carries with him has eyes which glow red when he’s using it to hypnotize the Sultan to indicate his evil influence upon him. In the CM we have the image of a red snake coiling around Jamil’s feet which is the physical manifestation of all his feelings of dissatisfaction regarding his position as a servant finally bursting apart. But before he is overtaken by those negative feelings we notice interestingly enough that the snake takes the form of an ouroboros: a snake which eats its own tail. A symbol of eternity.

Jamil: I’ve been raised as a retainer to serve his family, so I really can’t understand. A master is a master and a servant will be a servant. Most probably for as long as we’re alive. (4-26)

When discussing Jamil’s character we must admit to a certain cyclicity. Not one he engages in, but rather one in which he is stuck. He is the son of a family that has served the Asims for generations, creating a chain of servants and masters that is currently supposed to be replicated by him and Kalim. His sense of autonomy is constantly denied due to the intervention of forces beyond his control. Moreover, in chapter 4 itself his plans get constantly ruined by either Grim or the Octavinelle Trio, creating a sense that the universe itself has aligned itself in opposition to him. 

But there is more to it still. Jamil is a highly ambitious person, who desires to establish himself through his talent and skill, thus giving him the perfect reason to despise a system that requires some individuals to be subservient to others for arbitrary reasons. However, by his own admission he cannot envision a life outside the system either. This is in essence the insidiousness of such phenomena: they entrap not only the person physically but psychologically as well. Once one’s identity is dependent upon a certain ideology and philosophy of life it is extremely difficult to extract themselves from that mindset. Much like Foucault said, once the mind is disciplined and the individual turns into a ‘docile body’ they become reliant on that particular system in order to form a coherent identity. 

Though Kalim can step outside the bounds and limits imposed upon him, by virtue of his social position, Jamil is only allowed to operate within those boundaries. It is precisely why he stops advancing further once he reaches the end of the round court. Though physically he should be able to overcome such obstacles, mentally he is unable to not. Not as long as he remains under the governance of the Asim family, at the very least. It is obvious however that he cannot simply rise against them, and this realization is what causes him to hit the limit in terms of patience. He finally realizes that he has been robbed of his independence even before he was born.

Jamil: But if I have, it’s better you don’t know what I really think of you. If everything goes to plan… I’ll finally be free. (Scarabia CM)

Sight is an important theme to Jamil’s character as he, much more than any other character perhaps, actively attempts to manipulate the perception of others about him. He is not what he appears as Azul remarks in many of their interactions, and that is because to Jamil allowing himself to be genuine would come with a price: revealing his true feelings regarding his social position. And that, as previously stated, is not something he can afford.

Eyes are often called the ‘windows of the soul’ in the sense that they reflect a person’s true intentions and thoughts. Moreover, the notion of sight is one that literary authors often like to explore in their works. Out of all the senses, sight seems to be considered the most unreliable, since it often fails to discern that which exists in obscurity. The notion is explored in Aladdin (1992) too to a certain degree. Everybody sees only what they desire to see, and because the images they form are so contradictory that it creates misunderstandings and unnecessary conflict. Jafar’s power of hypnotism is even more interesting in this context since by definition it allows him to influence a person’s perception of reality and thus a part of their identity and how they relate to their environment. 

The end of the CM hints towards this notion as well, as we see that the Overblot first manifests itself is his eyes, obscuring his sight from the reality around him. He’s chosen to throw himself into the negative emotions that have finally overtaken him, and as a result given him the power to recreate reality to his discretion. We see the parallel with Genie and Jafar in his Unique Magic as well, since though he possesses one of the most potent powers, he’s still considered an inferior. Jamil’s Overblot is thus one formed by the depressing realization that for as long as he exists within the system, he’ll be forced to endure the continuous cycle of subservience forced upon him since before his birth. His transformation moreover is the result of a desperate yearning for freedom which has driven him to extreme actions. The appearance of the red eyes behind him symbolize more than the eyes of the serpent staff. They are a stark reminder that he is consumed entirely by the realization of his own powerlessness and over-dependence upon the Asims, even if it’s against his desire. 

To note is also the fact that out of all the Overblot victims, Jamil’s expression is the only one that is peaceful. If we take a look at the Heartslaybyul, Savanaclaw and Octavinelle CMs all of the Prefects display either rage or shock during their transformations. It is clear that this process is a horrific one, which explains their reactions, yet strangely enough Jamil seems serene and accepting as if he has come to terms with this course of action. Unlike the Overblot victims before him, his transformation is liberating to a certain degree, because it allows him to finally achieve his goal: get rid of Kalim and instate himself as leader of the dorm. Not because he covets the position itself, but rather because through it he manages to finally become free and unburdened by his social position. In a way, the dark appeal of Overbloting is just that: unlimited power, and for a character like Jamil, who very much lacks this, it is especially hypnotic. 

Out of all the Overblots so far, I consider Jamil’s the most tragic because in the end there seems to be no obvious escape for him, perhaps except in the case of Kalim setting him free. But this is still an event that will happen in a few years at best. It does not answer his current need for autonomy. Yet, despite this we see in chapter 5 that there is indeed some improvement. Though he has refused Kalim’s offer of being friends, he nevertheless has begun acting more like his equal within school grounds and their relationship overall seems less hostile on his end. The fact that much of the action of chapter 5 takes place in Ramshackle Dorm is also an important thing to note as it manages to create a neutral space, untainted by the Asim’s interference. In Vil’s system of meritocracy Jamil is finally able to act as himself and stop performing a role for others, thus he is finally able to assert a degree of autonomy over his own person, which he was not capable of doing before.

Coming now to the ends of this post I think it goes without saying that in terms of narrative cinematography the Scarabia CM is currently unmatched. Though short it manages to give a perfect summary of the themes explored in episode 4, the relationship between Kalim and Jamil and a brief but insightful look into the latter’s psychology and reasons for Overbloting. 

So, there’s really nothing else to do but thank Yana for giving us such a wonderful CM for what I consider the best dorm and best boys in the whole game.  

Additional Links

Indentured Servitude: https://www.youtube.com/watch?v=Qt--B1Y-u6Y

https://www.youtube.com/watch?v=Ti7Kbd6gSIo

Twisted Wonderland, Episode 4: https://kanadesmusingsblog.wordpress.com/2020/06/01/masterpost-twisted-wonderland-episode-4-translations/

Jamil Chats, Personal Stories: https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Personal_Story

https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Chat

Scarabia CM: 

https://www.youtube.com/watch?v=EVSx_BvTlmQ

Aladdin (1992) commentary: https://filmschoolrejects.com/38-things-we-learned-from-the-aladdin-commentary-fd9f1d8573b3/

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The peeps over in the Twisted Writings discord know this has been brewing for a while, but I’ve finally managed to sit down, write and edit this monster. It bears witness to the fact that I adore Scarabia more it is healthy (lol). 

Also wanted to thank fellow Scarabia stan buddy @chillableu​ for proofreading and brainroting with me about these boys. You’ve been such a great help and I’m so thankful to you!  ❤️ ❤️ ❤️

All the translation sources have been linked in the last section of the commentary.

[a-small-batch-of-dragons]

Gödel’s Incompleteness Theorem and Wittgenstein II

Prompt: Thinks about Logan breaking his clean streak on self-harm

Thank you for the prompt, babe! I’m a massive nerd so here you go!

Read on Ao3

Warnings: Self-harm, self-doubt (kinda), our boi Logan not having a good time. Please be careful guys I messed myself up writing and editing this so PLEASE PLEASE be careful

Pairings: LAMP, DLAMP, DLAMPR, can be platonic or romantic you decide

Word Count: 6908

Gödel's Incompleteness Theorem: For any consistent formal system, there will always be statements that are true, but that are unprovable within the system. The second incompleteness theorem, an extension of the first, shows that the system cannot demonstrate its own consistency.

Wittgenstein II: For a large class of cases of the employment of the word ‘meaning’—though not for all—this word can be explained in this way: the meaning of a word is its use in the language.

*       *       *

Despite what you think it is, it’s not a cry for help. It’s not a desperate attempt at anything. It’s not out of control.

It’s just an option.

Logan is Logic. That is his job, that is what he does, that is what the others rely on him to be. Thus, he is not an accurate facsimile of a human person. He does not experience certain things that a human does, and as such, he should not be held to the same standards and expectations as a human, as he is not one.

He is not a human. He should not be treated as such.

Logan is Logic and thus he must be. He has work to do. Anything that risks interfering with the work must be avoided at all costs. Thomas relies on him to sort through the noise and arrive at the clear, simple, clean solution. Oh, yes, those solutions might not always be as clean or clear as perhaps everyone would like, but it is Logan’s job to ensure that they are as close to that projected ideal as possible. Even if they all acknowledge that such an ideal is impossible to truly achieve, that does not render it irrelevant for use.

An unfortunate side effect of being a metaphysical humanoid is that there are certain things projected onto him that have no strong basis. It is one of the many unfortunate aspects of living in a world that is so—sometimes frustratingly—anthropocentric. The inability to extricate the human bias from any given set of observations is an issue that has plagued many disciplines for centuries, from science to philosophy. Because of the influence of sensory perception on any piece of information, there will always be things that are either assumed that should not be, or things that are taken for granted when they must be considered. There will always be things that humans cannot prove. It is impossible to prove certain things within a given set while existing within the set.

Gödel’s Incompleteness Theorem.

Logan is not human, and yet he is assumed to bear more similarities to a human than he truly possesses because Thomas is human. Thomas perceives him in a specific way that is in direct opposition to the function that Logan needs to fulfill in order to be useful to Thomas.

Thomas, as a human, assumes that Logan possesses human traits such as emotion, irrationality, and the inability to behave logically separate from the two aforementioned traits.

Thomas, as a human, requires Logan to be a being of pure Logic, in order to assist in scenarios that arise from the three aforementioned traits.

Logan is what Thomas requires him to be, but he cannot exist as something that Thomas does not see.

There is a small grey area in which Logan can therefore find a solution. Thomas has an abstract awareness of the existence of Logan, but he is not directly interacting or seeing Logan when Logan is not actively working with Thomas or talking with him face to face. If Logan is not being seen at that particular moment, the bounds of his existence are allowed to modify themselves in order to be the most productive. The meaning of the word is its use in the language.

Wittgenstein II.

Logan requires himself to be a being of Logic, and thus when he is not directly seen by Thomas, he must strive as close as he can to that point in order to be the most useful. If he can perform the logic and derive the solution before Thomas sees him again, then the fact that he will once again be altered is inconsequential. All he must do is remember.

Of course, the process of getting as close to that ideal as possible is difficult. Particularly when the switch must occur directly after filming. The process is not typically one that allows for the human traits Logan bears to be kept aside. No; between Roman’s stubbornness, Patton’s exclamations, and Virgil’s interjections, the three of them combined with Thomas’s inability to keep control of them for more than approximately ten seconds ensures that Logan’s capacity to control his emotions is a moot point.

The good news is he has learned how to curtail these emotional outbursts to exclamations of excitement over Thomas’s choice to pursue something or slight judgment towards the attitude the others possess. Or sass.

Mostly sass.

And it is not as if he never allows himself to retain the more human traits when he is away from Thomas. Socializing with the others is an important aspect of his existence. If they are all to work together for Thomas’s betterment, isolation would be counterproductive. And to say that their presence was merely an obligation or necessity would be a falsehood. When he has the capacity to enjoy things, he most certainly enjoys spending time with them. And when the emotions are simpler to handle—contentment, for example, or fondness, derivatives of happiness—they are simpler to put aside when he must work.

When they are not, the process is not nearly as…clean.

Frustration. Anger. Confusion. Other derivatives of sadness. These ones are troublesome. Mainly because they do not remain static—their meanings change as often as Logan looks to see what they are. They do not always stay the same word. They switch and flip and it is quite vexing. Which, of course, only serves to exacerbate the issue. The only commonality is that they all produce and/or derive from a sense of hurt.

Therein lies the solution.

There is a—quite clever, if Logan has to admit—loophole that Logan has devised in order to get to work. Emotional pain is something that he does not—can not—understand within himself. Physical pain, on the other hand, is a survival mechanism. Processing physical pain is much simpler, more distanced, and much easier to put aside than the complicated human emotional pain.

A loophole.

One that Logan has jumped through over

and over

and over again.

Just as Logan can adjust himself based on the meaning of ‘see,’ so too can he adjust what it means to feel ‘pain.’

The loophole works, and thus it is true.

Logic.

Of course, Logan is aware that this particular loophole is not one that would be approved by many people, let alone the other Sides. They, however, can afford to retain the emotional human traits that enable them to perceive it that way.

Hurting them would be…counterproductive.

But if they do not see it…

“What you don’t know can’t hurt you.”

That is not the same thing. They have no risk of feeling the same type of pain. Nor will Logan take any measure that will endanger anyone other than himself.

Not that this is endangering himself.

It is simple. Logan needs to work. This allows him to work. There is no risk posed to anyone else, including Thomas.

Therefore it is true.

And it’s not as though Logan does this often. It’s not every day, it’s not even every other day. And it’s not much. Never that much.

Just…a quick one, two, three, four, five.

Then he can go to work.

The pain fades, as it always does, and his mind is clear, ready to be filled with the logic of what needs to be done and the quiet assurance that whatever it is will be untainted by human emotion.  Occasionally the loophole will not stay open as long as he requires, but that is easy enough to remedy.

The others do not notice—and if they have, though he doubts it, they have never let on—and as such he makes an effort to conceal the loophole to the furthest extent he can. After all, it would not be ideal for the loophole to close, preventing him from using it to work.

It’s always small. It’s always hidden. It’s always private.

And if it isn’t executed as…precisely as he anticipates, well.

The others have never question why he keeps the first aid kit in his room.

There is a brief moment, early on when they are figuring out the dynamic between the four of them, that there is a name put to the loophole that gives Logan pause.

Fortunately, it was not him they were paying attention to.

“Virgil,” Patton says quietly, sitting next to the shaking Virgil on the couch, “can you take a deep breath for me?”

Virgil shudders. Roman makes eye contact with Logan as he comes down the stairs and quickly moves them to the kitchen.

“Is everything alright?” Logan asks as they move past the counter.

“Yeah, Specs, I think so,” Roman mutters, glancing over his shoulder, “I think it’s just a panic attack.”

“‘Just,’” Logan murmurs, “does this—has this been happening more often?”

“I think so, but I haven’t—we—“

“We have not been around Virgil long enough to ascertain a pattern.” Logan glances over to Patton, still mumbling softly to Virgil. He catches his eyes and shakes his head minutely. “What do we do afterward? Do we need to grab some food, water, anything?”

“Can you go get his headphones?”

“Are they in his room?”

“…I would presume so.”

Logan sighs. “I don’t want to violate Virgil’s trust by entering his room while he’s not there.”

“I’ll just go stick my head in.”

Roman vanishes and Logan turns, purposely paying attention to his hands on the glass, on the tap, on the counter, not looking over to the living room. When Roman reappears with the headphones and a quiet ‘they were on the doorknob,’ he risks a glance back over his shoulder.

Virgil’s leaning fully into Patton’s arms now, Patton murmuring softly into his ear. His breathing seems to have slowed considerably. Patton glances up again and nods.

“That’s us,” Roman murmurs, taking the headphones as Logan grabs the glass of water and walking over to the couch.

“Hey, Stormcloud.” He sets the headphones on the couch behind Virgil and carefully takes his hand. “You doing a little better?”

“Mm.” Virgil rubs his cheek against Patton’s shirt. “Sorry.”

“There’s no need to apologize,” Logan assures, setting the glass of water down on the coffee table. “You’ve done nothing wrong.”

Virgil shifts in Patton’s arms. “It’s annoying.”

“What is,” Logan asks, “taking care of you? Of course it isn’t.”

“Logan’s right, as usual,” Roman adds with a wink.

“You’re alright, kiddo.” Patton plants a kiss on his forehead. “And you’ll never be annoying to take care of.”

“…never?”

“Never.”

“Here,” Logan says when Virgil still looks unsure, “why don’t you name everything that you think will be annoying, and we’ll tell you how it won’t be?”

“Oh, great idea, Specs.”

“…panic attacks?”

“Not at all, kiddo.”

“Insomnia?”

“You know my sleep schedule’s as off as yours,” Roman says, “what with time in the Imagination being different.”

“Nightmares?”

“Dreams are difficult,” Logan says, “even when you are awake.”

“Self-harm?”

“Never,” Patton says, Roman not far behind. Logan, however…

Logan sits quietly for a moment. He is, of course, familiar with the term, however, it is not one he’s heard in…

A while.

He offers his assurances that of course, he would be more than happy to help Virgil with any issue he may have, including self-harm, but the conversation lingers in his mind long after Virgil giggles at Roman’s antics and falls asleep on Patton’s lap. And certainly long after everyone has bid each other goodnight and Logan has retreated to his room.

Perhaps…

No. Logan is not human, and thus he cannot be held to the same standards and definitions. If this self-h—if this loophole is required in order for him to function, then it is not the same thing.

If he thinks he hears a soft hiss in the darkness as that conclusion crosses his mind, he dismisses it quickly.

…it still may be best to…attempt to refrain from using the loophole.

The loophole has not been necessary for a long time. Whether it is because Logan has gotten adept at reaching his necessary headspace without it, or there has not been sufficient ‘pain’ for the loophole to be required, there sits a shelf in his bathroom that has remained untouched for a significant period of time.

Surprisingly enough, this is one of the only things for which Logan’s impeccable sense of time does not seem to work. Neither does the possibility cross his mind that the two could be related.

Regardless, it is something of a shock when he reaches up to grab something and his fingers find the wrong shelf.

He pulls his hand back quickly, surprised to see the dull shine of blood on his finger. He glances back up.

Ah. Yes.

Well, it is always good to be aware of one’s options.

He turns the water on and runs his finger under the tap, watching the red dilute and fade, feeling the sharp little sting as the water hits the cut. After a few moments, when the water runs clear, he removes his finger and goes to dry it off when he puts pressure on the cut again.

His fingers part and there it is again. Dull, wet, and a little shiny.

He squeezes.

The blood fills the cut again.

He runs it under the tap.

Clean.

There is something strangely satisfying, he has discovered, about watching simple repetitive things. Watching the waves go out and roll back in. Watching the soft tick, tick, tick of a metronome hand going back and forth. Watching the gentle breathing of a sleeping animal.

Squeeze. Blood. Wash. Clean. Squeeze, blood, wash, clean. Squeeze blood wash clean. Squeezebloodwashclean.

There’s a knock on his bedroom door.

“Logan? You in there?”

Logan blinks. “Yes, I’m in here.”

“You coming down for dinner?”

“Yes, I’ll be down momentarily.”

“Great.”

Virgil’s footsteps trail away as Logan washes his hands. He turns off the bathroom light and locks his door behind him.

“Oh, Logan!” Patton reaches for his hand when he passes the plate back. “You’re bleeding! What happened?”

“Simply an accident,” Logan says smoothly, brushing Patton’s concerned look aside in favor of a smile, “I reached for the wrong thing in the bathroom.”

“Oh, well, alright.” Patton gives his hand a gentle squeeze. “Just be careful, alright?”

“Always.”

Janus gives him a strange look but says nothing.

Life is…good.

Thomas has been paying more attention to them recently. All of them. Virgil is talking more, Patton is explaining things, Remus is being listened to, Janus is being included, Roman is being cared for…and Logan is being seen.

It’s good. Things are…good.

And something niggles in the back of Logan’s mind, even as he smiles, talks, is with the others.

Something that tells him he has to work.

He tries. He honestly does.

He talks with the others, and they help, truly, but there are some things they cannot give him. And he cannot help them the way he needs to if he isn’t working himself.

He cannot help Patton if he is not distanced enough from the emotional turmoil.

He cannot help Virgil if he is not able to embody the logical reassurance.

He cannot help Roman if he does not offer firm, rigid guidelines.

He cannot help Remus if he is not able to critically examine his ideas.

He cannot help Janus if he can’t think.

He cannot help Thomas if he continues to be like this.

And the knowledge that he can’t help…hurts.

Well. He knows what to do.

He stands up from their dinner one evening and accepts the hug Patton gives him. Even as Patton’s arms curl around his waist, the contradictions in his head make his eyes close. It is warm but it shouldn’t be. It is safe but it shouldn’t be.

It feels good but it shouldn’t.

That’s not what Logan is for.

Roman offers him a hug too but he declines, saying he has some work to take care of. Roman pouts.

“But I haven’t had a chance to see you lately,” he says quietly, reaching out to lay a burning hand—it’s not burning, it shouldn’t feel like it’s burning, this is wrong—on Logan’s arm, “won’t you come on a walk with me? We can go to the garden you like, I’ll see if I can have the herb section all ready, too.”

It shouldn’t feel like Roman’s smile is melting Logan. It shouldn’t feel like Roman’s hand is holding him together. It shouldn’t feel like this.

“Not tonight, I’m afraid,” Logan’s mouth says, “perhaps tomorrow?”

“That’s a promise.”

Roman lets him go and turns to Patton. Logan moves to leave but finds his way blocked by Virgil.

“Oh, my apologies, I didn’t mean to run into you.”

“I did that on purpose, L, don’t worry.”

“May I ask why?”

Virgil shrugs. “Wanted to talk to you.”

It shouldn’t feel like the hairs on Logan’s neck are rising. It shouldn’t feel like his chest is getting hot. It shouldn’t feel like this.

“About…?”

He shrugs again. “Haven’t had a chance to see you a lot.”

“I can assure you that I have been present,” Logan says, “and I can distinctly remember spending time with you over the last three and a half weeks.”

“Yeah, yeah, I know, I just—“ Virgil scuffs his shoe along the carpet— “just feel like I haven’t seen you.”

Logan blinks. “I’m afraid I don’t understand.”

“Just—never mind.” Virgil waves him off. “Good luck with your work tonight.”

“Thank…you…”

Logan starts up the stairs. He gets to his room, unlocks the door, and steps inside.

It shouldn’t feel like a weight being lifted off his shoulders.

It shouldn’t feel like that weight resettles onto his chest.

It shouldn’t feel like his hands are tingling.

Logan bites back a curse and goes to the bathroom.

It’s gone too far. He—he can’t make it to his work headspace on his own. They’re too loud. There are too many of them. He can’t focus. He has to stop this. He has to remove himself from this set.

He can’t fail Thomas like this.

No one can see him.

He has to change what it means to feel pain.

Gödel’s Incompleteness Theorem and Wittgenstien II.

Logan takes a deep, slow breath.

In.

Out.

He knows how to do this.

Get to the bathroom, close the door. Now there are more walls between him and everyone else.

Turn on the shower. It’ll be easier to clean up.

Put the blade right next to the razor. If necessary, blame the razor.

In.

Out.

In.

Out.

Always in the same place.

Ignore the other scars.

Pull the skin taut.

Make it precise.

Step a little more out of the water.

Remain in control.

Don’t grip the blade so hard it trembles.

Where no one can see.

In.

Out.

In.

Out.

In…

Out…

One.

Two.

Three.

Four.

Five.

In.

Out.

Now the other side.

Reach over.

Step so the water doesn’t run over either thigh.

Ignore the blood running down the other leg.

Pull the skin taut.

Make it symmetrical.

Adjust the grip on the blade.

Don’t bite the lip until it bleeds either.

Ignore the shine on the blade.

If the lines aren’t right they will have to be fixed to match.

Don’t be sloppy.

Do this right.

In.

Out.

One.

Two.

Three.

Four.

Five.

Logan leans his head back and closes his eyes. The blade is set down onto the smooth side of the shower. Water runs over his hair, down his back. The temperature is warm.

The water beats down over his head, his neck, his shoulders, his back. Unbidden, his shoulders relax and slump, his head bowing forward under the guidance of the water.

He cups his arms over his chest and turns. The water pools in the cavity of his arms, overflowing until it laps gently as his collarbones and down the creases of his elbows, landing with soft smacks on the shower floor. He watches it land, watches the little ripples and distortions from the falling water refract little artifacts of light onto his arms through the surface. Watches the water slowly start to run a faint red as he lets the water begin to run down his legs.

It hurts.

It stings and sticks and it isn’t clean, not by any means. It hurts and it feels and it’s the perfect loophole for Logan to jump through.

Now, if he closes his eyes, he should see—

Roman’s soft voice asking if he wants to go on a walk.

Patton’s hug, wrapping him up perfectly.

Virgil’s quiet remark that he hasn’t seen Logan recently.

No.

No, no, no!

Logan’s eyes fly open and he looks down. He—this should’ve worked. He jumped, he jumped, he used the loophole, this should be—

The blood is gone. It’s all gone. The tile isn’t stained, the water isn’t stained, everything is clean. But it—it hasn’t worked, did he—

The cuts are uneven. They’re too short on one side, too tilted on the other. They’re too faint. They’ve already stopped bleeding. They already blend in with the other scars.

No!

No, no, no, he has to—

This has to work.

He has to work.

Okay, okay he can do it—do it again. Do it properly.

Grab the blade.

Don’t worry about the grip.

One,

Two,

Three,

Four,

Five,

Six.

Okay. Now to the other side.

One

Two

Three

Four

Five

Six.

Patton’s laugh. Roman’s touch. Virgil’s gaze.

One two three four five six seven.

One two three four five six seven.

No, no, no, no, why isn’t this working? This should be working, he shouldn’t be feeling this anymore, has he—has he forgotten how to do it right?

It’s been too long, he doesn’t remember, this isn’t how this is supposed to work, the loophole should’ve stayed open, he needs it to stay open, he has to—he has to work, he isn’t useful if he can’t work!

Don’t worry about the numbers.

Overload the system.

Drown it out.

Drown it out.

Ignore the dull red shine all over the tile, the blade, the legs, the fingers.

Drown it out.

Make it stop, make everything go away.

Ignore the sting, if the feeling is still there it hasn’t worked.

Drown it out.

Drown it out.

Ignore the knocking on the door, it’s not there.

Drown it out, drown it out.

“Logan?”

“Logan, are you in there?”

Drown it out drown it out.

“Logan! Logan!”

“Logan I swear I’m gonna break your door down!”

Drown it out drown it out

“Logan! Logan, can you hear us?”

“Damnit, Logan, answer!”

Drown it out drown it out drown it out drown it out drown it out drown it out drownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitoutdrownitout

drown

it

out

…

Logan blinks.

The shower is covered in a dull, red, wet, shine.

His thighs burn.

His hands carefully set the blade down on the tiled edge.

The water runs over him, running and running and running.

Slowly, slowly, slowly, it runs from red to pink to clear.

Logan stands and shuts off the water.

The towel is black.

He dries.

He dresses.

His clothes are black.

His hair is wet.

He puts his glasses on.

Mutterings are coming from the other side of his door when he exits the bathroom, shutting the door behind him. He tilts his head.

“I don’t know what’s going on!”

“He seemed alright at dinner, what’s—“

“He was not alright at dinner, in fact I don’t know how long it’s been since he’s been alright—“

“I swear to unholy fuck I’m gonna break this fucking door down.”

“Please do not break my door down,” Logan says.

The voices stop.

“…Logan? Logan, is that you?”

“It’s me.”

“Oh thank god—“

“Are you alright?”

“Why didn’t you answer?”

“If you don’t open this fucking door—“

“Alright, alright, I’ll open the door, one moment.”

Logan opens the door and takes a step aside as the others spill into his room, Patton and Roman looking around, Virgil taking up residence on the desk. Remus walks in slowly, followed by Janus. Janus shuts the door and stares at Logan.

“Why didn’t you answer at first,” Patton asks quickly, “we were worried, did you—where were you?”

Logan indicates his wet hair. “In the shower, I’m afraid. It is both quite difficult and quite…impractical to come to the door while occupied.”

“Oh…okay.”

He adjusts his glasses. “May I ask why you were all outside my door to begin with? It has only been…a little while since I’ve last seen you.”

“A little while,” Janus muses, still staring at Logan. “How long exactly?”

Logan tilts his head, eying the clock over Janus’s shoulder. “Thirty-five minutes and forty-six seconds.”

“And why would you need to look at the clock?”

“…surely all of you are no stranger to losing track of time in the shower.”

He gets a round of vague agreements from Virgil, Patton, and Roman. Remus remains silent, prowling around the room.

“We are not,” Janus murmurs, “but you…”

Logan swallows. “You have not answered my question.”

“We,” Patton says, gesturing to himself and to Roman, “followed Virgil.”

Virgil hunkers on Logan’s desk. “I came because I heard Remus and Janus shouting.”

“…and why were you shouting?”

Janus just stares at him.

Logan’s throat begins to run dry.

“…Janus?”

“I believe you know the answer, Logan.”

He swallows. “You must be mistaken.”

“Please,” Janus says, almost too quiet for the others to hear, “don’t make me do this.”

Logan swallows heavily.

“Do what?”

Something flickers across Janus’s face as he looks at Logan.

He looks at Remus.

He nods.

No.

No, no no.

Logan was so careful.

He can’t—

Remus reels back and kicks Logan’s bathroom door open.

“Remus!”

Remus pays Patton no mind, striding in and away from Logan, even as Roman rushes after him.

Logan is frozen.

“Remus, what’re you—hey!” Roman makes an indignant noise as Remus shoves him back out through the door. “Remus!”

Logan can feel Janus’s eyes on him as he scans Remus’s hands. He’s not holding it. Did he—did he miss it? Is something—

He knows when his gaze flicks up to catch Remus’s that he’s been well and truly caught.

“You do know what my job is,” Remus hisses, “don’t you?”

Logan raises his chin. “And you know what mine is.”

“If you think that even begins to explain this—“

“Explain what?” Roman looks frantically back and forth between the three of them. “What the hell is going on here?”

No.

No, no, no, no, no, Logan was so—he was—he’s been—it can’t—why didn’t it just work? He could’ve been fine, this would’ve worked, he could’ve worked, he wasn’t—how did they see?

“Logan?”

“Logan, look at me.”

“Lo, you’re panicking—“

“Way to go, you two, look what you’ve done.”

“We’re trying to help him!”

“You’ve messed up a perfectly good Logan, that’s what you did. Look at him, he’s having a panic attack!”

“Logan,” comes a soft voice in front of him, blocking out the others into a distant murmur, “Logan, look at me.”

Logan blinks.

Remus’s face swims into view, concerned. He reaches out to cup Logan’s face in his hands.

“You’re panicking, Lolo,” he says quietly, “you gotta calm down.”

“I’m not panicking,” Logan tries to say, only his throat won’t work.

“Why are you doing this,” he tries again, but nothing’s happening.

“What’s happening to me,” he tries desperately, only for nothing, nothing to work.

It isn’t until Remus’s thumbs come away damp that he realizes he’s crying.

“Lo—a little help here!”

“Logan!”

Logan collapses into Remus, who quickly wraps his arms around his waist and pulls him into a seated position, cradling the limp form in his lap. Roman, who rushed forward when Remus cried out, pulls him closer, laying his legs across his lap, not caring that his trousers started to soak.

“Easy there, Specs,” Roman hushes, hand drawing little patterns on Logan’s damp knee, “shh, shh, you’re okay.”

Then he looks down.

Logan can pinpoint the moment Roman sees the patterns of wetness through his jeans.

Roman’s eyes widen.

“Oh, Logan…”

“Can someone please tell me what the fuck is going on?”

Out of the corner of his eye, he sees Janus turn toward Patton and Virgil. He can’t move. He can’t—it hurts, it hurts—

“Oh, sweetheart,” Roman murmurs, cupping the backs of Logan’s legs, “oh, sweetheart, I’m so sorry.”

“Fuck!”

“Oh my gosh—“

“Logan—“

“Oh, kiddo—“

Oh. Virgil and Patton are here now. Great. Is it great? What is—how does this—Logan hurts.

Janus crouches down by his face, gently cupping his cheek and leaning forward to rest their foreheads together.

“Come on, sweetie,” he whispers, “I know it hurts, but you have to breathe.”

Is he—has he been quiet this whole time?

“At the very least you’ve got to breathe. In an out, come on.”

In.

Out.

In.

Out.

No…

That didn’t work last time…it didn’t work…it didn’t…

“…didn’t work,” Logan mumbles, “it didn’t work.”

“We’re not trying that, sweetie,” Janus says easily, “we’re trying something else. I still need you to breathe for me.”

Logan breathes.

“Shh, shh, there you go, just like that…” Someone rubs his knee gently. “Just like that.”

They’re all here. They can all see. They can—does that mean Thomas can see? IS that why Logan—is that why it’s been so hard?

“None of that now, sweetie,” Janus chides, lightly chucking Logan under the chin, “stay here, stay with me…no drifting off just yet.”

They’re all here.

Virgil frowns. Then he glances at Patton. “Pat, let’s go get L something to drink.”

“But—I—“

“It’s too much for him, Pat,” Virgil says softly, “with all of us here, he’s getting overwhelmed. Let’s go and then we’ll come back, yeah?”

“O-okay.”

As they leave, Roman shifts to let them by, and the fabric rubs right over the cuts, making Logan hiss through his teeth. Even though it’s quickly shushed by Janus, he doesn’t miss Roman’s wince.

“Yeah, denim over the fresh ones is rough, isn’t it?”

Logan goes absolutely still.

Judging by the way Remus growls and Janus turns, that’s news to them too.

Roman just looks at them all and raises an eyebrow.

“Oh, please. It’s not all long sleeves and pants all summer for no reason.”

“R-Roman, you—you—?”

“Yeah, Specs,” Roman murmurs when Logan can’t find his words, “me too.”

“Oh, we are not done with this conversation,” Remus mutters, softening slightly as he turns his attention back to Logan, “but c’mon, Lolo, you gotta—you gotta believe we’re as shocked about you, too.”

“But—“ Logan stammers— “but you—Roman you—you’re—“

“What, Logan,” Roman prompts gently, “what am I?”

“You’re—you can feel, and—and—“

“I can feel, Specs, that’s true.” A rueful smile tugs at the corner of his mouth. “And I’m sure that the…idea that it’s not always ideal isn’t that foreign to you, huh?”

“But you have to feel to work, I—I can’t, the loophole—“

“What loophole,” Remus asks sharply, “Logan, what are you talking about?”

“I—“

Janus cups his head again, easing himself down, mindful of Logan’s legs. “Why don’t you explain that to us, sweetie,” he says softly, “help us understand?”

“You—I—“ Logan tries to breathe. “I…I have to be useful. I have to—I have to be Logic. You—you all…Thomas needs Logic.”

“So...?”

“So I—Thomas still sees us as people, or—or at least Sides of people which means he end—endows us with certain human traits and—and qualities.”

Janus nods.

“I can’t—in order to be useful I can’t feel, I have to be Logic.” Logan swallows. “But if Thomas can see me then I have to be what he sees.”

He swallows again.

“So if I take myself out, then I can—then I can be Logic.”

“But that doesn’t necessarily mean you aren’t what Thomas thinks you are anymore,” Roman asks gently, “so you…aren’t you still in the…aren’t you still in?”

“The meaning of words is dependent—“ Logan swallows— “dependent on the context, so if I can change the—the context then I can take myself—myself out.”

Roman squints. “I’m afraid I don’t understand.”

“Oh, Logan,” Janus murmurs, “are you telling us that you’ve determined that this is the correct course of action through logical principles?”

“Excuse me he’s done what?”

“You cannot prove certain things about a set while using the language of the set,” Janus says softly, his gaze locked on Logan’s, “and the meaning of a word is dependent on its use within the language. Does that sound familiar?”

Logan nods. “Gödel’s Incompleteness Theorem and Wittgenstein II.”

“You’re operating under the assumption that your role as Logic is the determining factor,” Janus continues, “and that in order to fulfill that role to its greatest potential, you must remove yourself from the set of emotional beings, including a re-contextualization of what it means to feel.”

He nods.

“But if the language has become re-contextualized, then attempting to operate under all the other assumptions the previous language affords is illogical, let alone the fact that it renders the act of removing oneself from the set redundant. Another language is required to derive a solution ytt it would be impossible to translate the solution into the language of the original set.”

Janus cocks his head.

“And haven’t you yourself created an assumption about the nature of the original set? The role you play within it and its very existence prevents your leaving of it in its entirety.”

And Logan’s poor, tired, illogical brain is so, so lost.

In the distance, Roman huffs. “Okay, so I’ve got no idea what the fuck we’re currently talking about.”

“Same here,” comes Remus’s voice.

Janus smiles gently. “You’ve overlooked something, sweetie,” he says, stroking Logan’s cheek, “about you and how much we care.”

“What…what did I miss?”

“You said that you need to be useful.”

Roman makes an ‘ah’ sound. “You could’ve just led with that instead of showing off.”

“I most certainly was not.”

“Yeah, you were, Janny, shut up.”

Roman shakes his head fondly and leans closer. “You don’t have to be useful, Logan, nor do you have to worry about not being exactly what you think you do.”

“B-but—“

“Shh,” Roman murmurs, gently stroking Logan’s leg, “can I talk for a minute, sweetheart?”

Logan nods.

“Thank you…you think that you’re not being you because you’re getting emotional, yeah?”

“Yes.”

“Okay…well, have you considered that you’ve got a warped perspective of yourself because it’s being affected by your own perception?”

Janus turns to Roman. “My, my, Roman, discussing the limits of sensory perception?”

“I do listen to my dear darling nerd,” Roman hums, lightly showing Janus’s shoulder, “but anyway, Logan, you have to realize then, that means that you can’t objectively say you do or you don’t have these traits because you’re being affected by them.”

“Gödel,” comes Janus’s voice.

“Yeah,” Remus says, “and also that just because you think you’re only wanted because you’re useful doesn’t mean that we think that.”

“And there’s Wittgenstein II.”

Oh.

Oh.

“Isn’t that what you told us,” Remus continues, “that you can’t logic your way out of everything? You’re no exception to that, Lolo.”

“Logic can be used in a lot of ways to justify all sort of things,” Janus agrees, lightly tapping Logan’s cheek, “and just because something may be logically valid doesn’t make it true.”

“That’s why we have you.”

Logan balks at Roman’s words. “M-me?”

“Yeah, sweetheart,” Roman smiles, “you. You with your feelings and your care and your you-ness. You’re a part of this set and you’re not going anywhere.”

“And we don’t want you to.”

Logan’s thighs burn.

“Shh, shh, sweetie,” Janus hushes as tears start to well up in Logan’s eyes again, “it’s okay, we’ll help you—oh, sweetie, it hurts, doesn’t it?”

“Yes.”

“Will you let us help you clean them?”

Unbidden, Logan’s face flares bright red.

“You don’t have to be embarrassed, sweetie…”

Roman gently nudges Remus’s arm. “Let me. You two go check on Patton and Virgil.”

“What?”

“Roman—“

“Come on,” Roman coaxes, “it’s not like I don’t have the practice.”

“We are so not done with this conversation,” Remus mutters as he squeezes Logan’s waist, “but is that okay, Lolo?”

Logan nods. Better just one than all.

“We’ll be back,” Janus promises, giving his cheek one last pat as he leaves.

“Easy does it,” Roman murmurs as he starts to lean Logan back against the wall, “do you have a long shirt?”

Logan motions wordlessly toward the closet. Roman finds the softest shirt Logan owns—how Roman knows is beyond him—and lays it gently in Logan’s lap.

“Change,” he says softly, letting their foreheads rest together for a moment, “I won’t look.”

The cuts have dried to the jeans and they burn, Logan biting his lip to keep from crying out as he gets them off. He’s panting by the time he’s done. Roman turns back with the first aid kit in his hands and kneels down. Logan stares at a spot on the floor, far away.

“Alright,” he says, pulling out the wipes and bandages, “Logan?”

“Mm?”

“You tell me to stop, I stop dead,” Roman promises, “but you must tell me, alright?”

“I will.”

“Thank you, sweetheart. This may sting a bit.”

It does, but Roman is careful and thorough and far too good at this.

“How do you think it was for us,” Roman whispers when Logan voices that last part, “when we realized?”

“My apologies.”

“Oh, no, sweetheart, that’s not what I meant. I just meant that you’re so important to us, Logan, you, that this…this hurts. And I don’t ever want you to think that this is necessary for us to love you.”

Love.

The word stutters in Logan’s throat.

“Too much?” Oh. Roman must think it’s his legs. “Here…”

Roman reaches out and gently rests Logan’s hands on his shoulders.

“There…Keep your hands on my shoulders. Then if something hurts too much, you give me a squeeze and let me know, hmmm?”

“…okay.”

Love…

One of the larger cuts stings horribly as Roman begins to clean it and Logan tenses, his hands gripping Roman’s shoulders.

“Hurt?”

“A little.”

“Here…” Roman leans down and blows a stream of cool air over the cut. “…better?”

“Yeah.”

“Good. I’m almost done.” He carefully applies the bandages, smoothing his hand across them as he finishes. “There…all better.”

He packs away the first aid kit, only to pause and look up when Logan’s still staring at the same spot on the floor. He stops, setting the kit aside and taking a seat near his hips, reaching and twisting to cup Logan’s face in his hands.

“Hey,” he calls gently, “talk to me, sweetheart.”

Logan wets his suddenly-dry lips. “I don’t think I’ve…processed this yet.”

“That’s okay, Lo, it’s not gonna be a quick thing.” Roman glances back. “And certainly not if it’s been happening for a long time. Though, if it’s any consolation, I don’t think any of us have fully processed it either.”

“I…”

Logan gets interrupted by a gentle knock on the door.

“Can we let them in, sweetheart?” Logan nods. “Come in.”

Patton appears first, holding a glass of water out to him. Virgil comes in next, holding a massive pile of blankets, helped by Janus. He can hear Remus take the kit and put it away.

“Hey, there, kiddo,” Patton whispers as Logan starts to drink, “there you go…thank you.”

“How’re you doing, L?” Virgil tilts his head a little. “All things considered?”

All things considered…

Logan takes a deep breath and turns, trying to look at his legs.

Before he can, Remus has his hands over his eyes.

“Ah!”

“Sorry, Lolo,” Remus mutters, “but even I don’t think that’s a good idea right now.”

“…if I don’t look, it—I…”

Did it happen? Did I—did it work, did I not—did I do it wrong? It has to be done right, I need to—dull, red, wet, shine, one, two, three, four—

“…alright,” Remus whispers, removing his hands.

The bandages cover most of it.

His hands tremble.

It hurts.

It hurts.

“H-help me.”

“I’m here,” Roman says instantly, rushing forward to pull Logan into a tender hug, “I’m right here, sweetheart, I’m right here.”

He tries to hug him back but his arms are shaking too much so he can’t.

And this, more than anything, is what makes him finally start to fall apart.

“Oh, sweetheart…”

Roman adjusts his grip, settling Logan’s arms over his shoulders. He cradles Logan like he’s something precious, something true.

“Can we help,” comes Patton’s strangled whisper, “can we help too, Logan?”

“Please?”

Patton is behind him in an instant. Remus clings onto him from the side. Virgil wraps them all in one of the weighted blankets as Janus pulls Logan’s legs into his lap.

“Don’t worry about figuring anything out right now,” Patton murmurs, “or jumping through any loopholes. Just…just be for a little bit, yeah?”

Logic disappears in a soft puff as Logan buries his head in Roman’s shoulder and cries.

Set complete.

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