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losthomunculus · 3 years ago

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Online Safety Relevant to the Current State of the Internet

On twitter I made a tweet about how online safety lessons in school can be very out of touch but that the advice of people who are familiar with the current internet shouldn't be disregarded. So here's my informal collection of online safety tips

Sources: unrestricted internet access since elementary school (not recommended), being a formerly involuntarily home bound person for several years that amassed way too much online experience

This could possibly hold upsetting reminders to people who had bad experiences online including mentions of grooming and emotional manipulation so please proceed with caution!

Information Sharing

Make an online pseudonym for public profiles and websites.

Don’t feel like you have to list everything about you for the world to see.

Sometimes it’s not a question of “can this information be used to locate and identify me irl?”, but simply “do I want this information publicly available and linked to my online persona?”

Unlike offline, being online leaves a constant trail of who you were accessible at all times. People are constantly growing and changing. Try to limit the information you share so you can ditch that trail and start over if need be.

Sharing information with people you make friends with and trust is a judgement call on your part, but always be on the safe side and be protective of your information.

Start as cautious as possible with online safety. Any risks or judgement calls can come later when you are 1. aware of the risks, 2. ready to address them if they occur, and 3. have gathered plenty of information instead of doing something blindly and hoping for the best.

Do not share your triggers publicly, they can very easily be used against you. Instead use websites with a large amount of filtering options to curate your online experience. If you are going to share them, only do it privately with people you trust.

Importance of Boundaries

It doesn’t matter how mature you are, don’t enter age limited spaces you don’t qualify for. It’s disrespectful to the boundaries of the people who made that space. Boundaries like this exist for the comfort of both sides involved.

Just because you can “handle it” doesn’t mean it’s good for you. Desensitization is not something to brag about.

Venting or making r18 posts as a minor on a public account is VERY dangerous. Intense emotional vulnerability is something manipulators will look for as a way to get to you. The same with sexual jokes to develop your comfort talking about those topics casually and eventually escalating the situation. If you are going to talk about such things please keep that in private conversations with people you trust in your age group.

Note the difference between public and private online space. Tweeting something on a public account is not the same as having a conversation in the cafeteria with your friends.

If an adult tries talking to you about r18, run the other way. Doesn’t matter how cool you are, it says something weird about THEM if they’re willing to talk to a minor about that stuff.

If someone( like 3+ years, honestly depends on how old you are) older than you wouldn't be comfortable saying what they're saying to you in front of other people (like a teacher or guardian), that's suspicious as hell. Run in the other direction.

The younger you are, the more age gaps matter. There's a bigger difference in development between a 13 year old and a 17 year old than there is between a 20 year old and a 24 year old. It helps to try to contextualize it with real people instead of numbers. Instead of thinking "oh just 4 years? that's not that weird" consider "oh. that would be like a freshman (13/14) dating a senior (17/18). yikes."

Be just as wary of people your own age talking about things that make you uncomfortable. Just like irl, sometimes you’ll meet people your age that are hurtful.

Friends complain to each other and talk about their issues, that alone is fine. But when people are doing it without permission, draw a line. When people are making it feel like you’re responsible for maintaining their mental health, you need to draw a line. When it starts to effect your mental health, PLEASE DRAW A LINE! I know it feels like your responsibility sometimes, but it’s not. You cannot be there for others if you’re not taking care of yourself first and foremost.

Don’t be afraid to block people. Even for petty reasons. It’s good to block people. Don’t force yourself to see stuff you don’t want to see.

Being Constantly Online

The 24 hour news cycle is not a good thing to follow 24/7. Taking social responsibility is a good thing, but your brain is NOT built to worry about every issue in the world at once. One strategy I use for staying sane is I try to only check the news once a day, and if something needs more attention to set aside an amount of time I’m going to focus on it before I need to take time to step back.

Touch grass. Not literally, unless you can in which case I highly suggest it, sometimes it’s just good to lay in a field. What I mean is you need to dedicate a good portion of your time to being offline (sleep does not count). What your offline time looks like is going to differ depending on your level of ability, but even if you are house bound it’s important to build some hobbies that don’t rely on the internet. Talking to people offline is also a good goal if possible, even just to your housemates.

Social etiquette greatly differs online and offline and sometimes the reminder that were all just Some People gets lost behind the numbers and the fabricated personas. Keep in mind the difference in how information is shared without forgetting that the fact we are all people remains the same.

Be generous with your etiquette. You will avoid a lot of stress if you conduct yourself with the same politeness you would have in an offline interaction. Master the art of "minding your own business" for your own sake.

Arguments and Competition

As soon as you can, you need to internalize the fact that leaving an argument is not losing.

It is inevitable you will be exposed to many people who disagree with you. Some people only want to argue to rile you up. Sometimes that’s not their intention, but it’s what they’re doing. You do not have to remain in conversation with people, especially if they’re not interested in actually coming to an understanding. Even if they are interested, sometimes they just suck!! Leave!! You can leave!!

On that note, sometimes you are going to get valid criticism and it’s going to hurt. That is part of learning. If someone says you messed up and did something hurtful, take a second to step back from your defensiveness and consider: intent ≠ effect. Apologize, repair what you can, and move forward with the ability to do better in the future. You’re going to mess up every once in awhile, it’s inevitable.

To summarize the past two points: don't waste your time on unnecessary hostility but don't close yourself into an echo chamber either. Debates should be about learning.

Sometimes people are not going to like you. This happens offline too but people tend to be a lot more blunt online. Sometimes people dislike you for no reason or for really petty reasons. That’s not your problem, move on.

Don’t actively seek out people you don’t like or who don’t like you to argue with. Whether or not your side is the “right side” doesn’t matter, it’s going to cause you so much unnecessary stress. Feel free to keep posting your opinions on your own profile but don’t seek out unnecessary conflict.

This is a different type of competition than previously mentioned, but be aware of the danger of comparing yourself to other people. Especially if you’re a creative or student, DO NOT GET SWEPT UP IN THE GRIND CULTURE. It’s more subtle in some places than others, but anytime you see the notion that you should be working yourself to the bone be VERY critical. Also be critical of any online cultures (such as gaming and art communities) that brag about unhealthy habits or act like it’s ~part of the culture~ (ex: all nighters, not taking breaks, getting hurt. Any activity that neglects health to work toward a goal).

Not just grind culture, any community of subculture that shares anti recovery sentiments is a huge red flag. Even if they're joking, it's not worth the risk of internalizing those statements.

Everyone’s social media presence is to some degree doctored because it’s a purposefully selected collection of what they allow you to see. It’s fine to like the persona you see being displayed, but never forget that it is not reflective of the entire person. Everyone online is JUST SOME PERSON. Do not forget that and start holding yourself to a standard you can’t even see every side of.

By posting online you are opening yourself to criticism. Whether or not it’s justified can vary, but either way it’s going to happen. Mute stuff, go private, disable comments, etc if you need to.

Misc Tidbits

these are technically just general info that is also good for offline but I have seen things that make me think people online need the extra reminder.

Learn what cults are, how they recruit, and what they do to their members. I'm not kidding. This is particularly relevant at the moment because of current societal unrest and widespread loneliness. No one is immune to cult propaganda, and not every cult is based on pre established religion or family. Many exist ONLINE and are able to manipulate people without ever meeting face to face. (learn more: Loneliness as a Pandemic: The Dangers of Online Cult

Familiarize yourself with the concept of pseudoscience. Please familiarize yourself with the concept of pseudoscience and then learn how to identify pseudoscience. (learn more: Karl Popper, Science, & Pseudoscience: Crash Course Philosophy #8)

Q. How do I know if a source is reliable?

Final Thoughts

It's important people of ALL ages learn these lessons, because the internet is constantly changing and we are all vulnerable when in the presence of other people.

Be cautious and stay safe

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rivalsforlife · 3 years ago

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Phoenix Wright: The Truth Reborn: Oh No We’re Doing This Again

hi.

Nearly two months ago, I wrote an essay summarizing and making very wild conclusions about the second Takarazuka Musical. I did this about two and a half years after watching the first Takarazuka musical. As such I did not have the full context for many things from the musical and was relying mostly on my memory, which blocked many things from this musical for my own safety. However, just this week, I decided to rewatch it, because I enjoy tormenting myself. I said I wouldn’t write anything on it. Here I am writing something on it.

Here’s the youtube thumbnail so that you know what you’re getting yourself into. And here, of course, is the link. This is the HD version which may be slightly more pleasant to watch. Maybe.

It was not quite as cringe in a funny way as the second musical to me, and therefore this essay may be less funny, but I feel like I’m doing a disservice to people by providing a summary of the second musical while completely neglecting the first. Quite possibly doing this is even more of a disservice. I just eagerly await the day that the third musical is translated because *that* will be the day that I finally shuffle off this mortal coil. Either way, I want to write this stuff down so that I never have to watch the musical again out of curiosity.

The following essay will contain major spoilers for both the first and second Phoenix Wright Takarazuka musicals, as I will be using many points from this musical to argue my thesis of the second musical. ... like you were going to watch them anyways.

This one broke 8k. I’m dead inside.

Introducing The Director

Again another disclaimer that I don’t have anything against the actresses or the theatre troupe. I DO have something against Suzuki Kei, who I recently learned is the writer and director of all three of the Ace Attorney Takarazuka musicals, and is quite possibly my mortal nemesis.

This man is the one who brought this monstrosity into the world.

This man, allegedly, cleared the first four ace attorney games *seven times* before sitting down to write these musicals. He played these goddamn games seven times and did not take in a single word. The man clicked through them mindlessly while watching a badly written legal romance drama in the background and got them completely confused. I genuinely have no idea how this man could have played these games more times than even me and yet managed to get so many characters (MAYA!!!!) completely and utterly wrong. This haunts me every day, truly.

This man played Phoenix Wright: Ace Attorney, Phoenix Wright: Ace Attorney - Justice for All, Phoenix Wright: Ace Attorney - Trials and Tribulations, and Apollo Justice: Ace Attorney seven times. SEVEN TIMES EACH!! and was told to create a musical based on the series. He played these games seven times each and you know what he said?? You know what he said?? “This sucks, I’m getting rid of all of Phoenix’s backstory, butchering half the characters, and writing Phoenix/Lana fanfiction, but also rewriting all of Lana’s backstory so that she was Phoenix’s childhood friend, and you know what, I’m changing her name for good measure.”

I think this man played the games seven times each and then hated it so much and was so sick of it he tried to write something that destroyed as much of the series as possible while still being vaguely recognizable. And then somehow it became a massive hit because people like me see this and go “what the actual hell” and watch it, or people who haven’t played the games see this and go “wow what a great musical!” and then he wrote TWO MORE, destroying EVEN MORE every time in his wake, until finally, finally, he stopped after making Edgeworth straight and time traveling into the past to face off against a corrupt Gregory. I guess that was the last straw.

I have to issue a disclaimer here that for legal reasons this is a joke. I don’t actually hate this man and would not punch him in the face if I met him because that would be rude, and he is entitled to his wrong interpretation of the games. I don’t know what his thought process was. But allegedly he did play the games seven times according to the wiki. This whole essay here is satire and not slander and I don’t want to offend this guy if he somehow stumbles across my nonsense tumblr post. At the same time: Suzuki Kei blink twice if you need help.

Anyways half the reason that I’m making this essay is because I want to share my fake ao3 page for this musical. The other half will become apparent later.

Sorry if that’s illegible because of tumblr quality it’s not really important. All you really need to know is that it’s a fake ao3 screenshot for the musical. Also in the author’s note I said he played the games four times but it was actually seven I just remembered wrong because I didn’t want to believe it.

at this point you may be like “Grace shut up and get to the actual musical” and okay, fine, let’s start this nonsense. Also note that I may be referencing things from my essay on the second musical very frequently; I’m not going to force you to go read that though because the fact that you’re reading this is enough of a torment already.

The Musical Begins

Unlike the second musical, this one opens with some narration from Phoenix.

Transcript:

Phoenix: I’m reviewing a particular case at the moment. To me, this case... is one I’ll never forget.

Immediately I think this is important because it establishes that this whole musical takes place in a flashback that Phoenix is reflecting on. Why is this important? Because we know, by the time of the second musical which takes place three years later, Leona is dead.

Knowing that Leona is inherently doomed to die of her Sad Woman Disease paints this whole musical in a different light. It’s not Phoenix reflecting on how he got back together with his lover; it’s Phoenix dwelling on their past together, and the opportunities they had, before her life was so cruelly and inexplicably taken away. We don’t know if Phoenix’s reminiscing takes place before or after Leona’s death... but I wouldn’t be surprised if it was after.

Phoenix, still in the present, starts to sing. “A wave appears on the horizon like a mirage, it trembles, then vanishes. Your voice, carried upon the waves, fades upon the shore, erasing the splendor of the past.”

This line actually shows up in the second musical, sung by Lucia about her imprisoned fiance quite possibly. It’s kind of hard to tell what the meaning of these songs even are. They’re too abstract for me I think. But this line appears very frequently in the first musical when Phoenix is thinking about Leona.

Then we enter the flashback time.

Phoenix inexplicably yells at a newspaper saleswoman. This is not relevant to anything whatsoever. Then Larry barges in to the office, looking for Maya. Phoenix describes him as “A real trouble maker, but you just can’t hate the guy”, the latter part of which I think many people would disagree with.

Well, afterwards, Maya comes in. Phoenix describes her like this while making exaggerated “can you believe this shit” gestures.

Transcript:

Phoenix: She’s as ditzy as they come. Oh, and about the outfit... Apparently she comes from a family of spirit mediums. Try not to make fun of her, okay?

Suzuki Kei personally has it out for Maya and I can never forgive him for it. Maya in these musicals is here for pure comedic relief but it’s not even comedic because I just get so angry. How can you play the trilogy seven times and think this about her?? The girl who figured out DL-6?? The girl who told Phoenix to sacrifice her life in order to find the truth?? The girl who put on a brave smile in order to try and cheer up her younger cousin even after she saw her own mother murdered right in front of her eyes?? That Maya Fey?? Ditzy as they come??????

Ugh. Moving on.

Maya and Larry run off, leaving Phoenix to watch the American Broadcast.

Important things to note here are the Godot mug, the little line up of what I think are the messed up little ace attorney figurines beneath the screen, and the fact that while this broadcast is supposedly from and to America the screen is actually not at all showing America. Like literally almost everywhere in the world except North and South America.

The broadcast says that Leona Clyde, age 24, was arrested for murdering the senator Robert Cole! Leona Clyde -- that’s Phoenix’s ex-girlfriend! He runs off to the detention center.

She is not happy to see him.

Leona: Mr. Wright... I’m not the woman you once knew.

Let’s Play A Matching Game

Sorry for the abundance of screenshots that are going to be throughout this section. Phoenix convinces Leona to let him defend her. Some of the conversation seems... familiar.

Leona: No one would defend someone who admits to killing a senator. I’m waiting for a court-appointed attorney.

Edgeworth: Every defense attorney I’ve talked to has turned me down.

Phoenix: In that case, let me defend you.

Game Phoenix: Let me defend you.

Leona: Don’t be ridiculous!

Edgeworth: Don’t be ridiculous.

Phoenix: I’ll never accept that you’re a murderer. Let me prove your innocence!

Game Phoenix: Huh? Isn’t it obvious? I’m going to prove that Miles Edgeworth is innocent.

Leona: I’ve already confessed my guilt.

Gumshoe: He confessed that he did it! In court!

Leona: It’s foolish to think you can win this case.

Edgeworth: My case is near hopeless, Wright.

Leona: (in response to phoenix offering to defend her) No you won’t! Don’t ever come here again.

Edgeworth: Look, just go away, and leave me alone!

Phoenix: You of all people should know. Once I decide to do something, I see it through to the end.

Edgeworth: Once you start on something, you always see it through, don’t you?

Leona: I never thought that you’d be representing me.

Phoenix: Ah, who could have guessed this day would come?

Edgeworth: Not me.

Phoenix: You believed in me. You saved me. And this time, I swear... I swear I’ll save you!

Game Phoenix: Edgeworth believed in me, and I believe in him. I’m the only one who knows the real Edgeworth. I’m the only one who can help him.

I could’ve done a few more, but tumblr is already threatening to murder my laptop.

So long story short, Phoenix manages to convince his lover to let him be the defense on the case. Then immediately after swearing to save Leona, he starts singing a song, which I’m not screencapping because this is enough:

“As long as there are people in this world, there’s only one path I will follow! As long as there is love in this world, there’s only one path I will believe in!”

Edgeworth sings this in the second musical after saying that he returned to California because of Phoenix. Phoenix sings it now after swearing to defend Leona. You draw your own conclusions.

And then we finally get the opening credits. Eleven minutes in.

Just Pretend This Is Narumitsu Fanfiction

Following the credits, we see a beautiful beach. Couples (exclusively heterosexual, of course,) dance and embrace in the background for some time, before revealing Phoenix and Leona, in the Even Further Past, before the LSATs or whatever the ace attorney universe’s excuse for law school exams are.

Phoenix establishes his absolute hatred of change, an important characterization moment.

Phoenix: The view here never changes, huh?

Phoenix reminisces on when they were kids. Leona’s parents were both lawyers (they’re both lawyers) and sometimes they would be like lawyers with her when she was a kid. This inspired her to also become a lawyer after their tragic death of Sickness. They never specify what the sickness is that caused two people who must be relatively young to die while Leona was in her early twenties at the latest. It may be whatever sickness claimed Leona’s life later. Sad Woman Disease. (Sad Man Disease for her father, I guess?)

Phoenix also talks about why he’s becoming a lawyer.

Phoenix: Watching you chase your dream inspired me to become a lawyer too.

So, it’s not “my childhood friend looked sad in a newspaper” because I guess that makes no sense or is too gay or something. But this is another important piece of Phoenix characterization. His entire life so far has been focused around Leona. They’ve been friends since they were kids, and then Phoenix decided to become a lawyer solely because Leona was becoming a lawyer. Not even to try and get back into contact with her after she moved away or anything; just because he’s so obsessed with her that he wants to have the same career as her, then they can run a Mom & Pop Law Firm or something, years in the future, after years of happy marriage and a few children or like whatever the hell.

Well, there’s a few steps they’ll need to get to that. At this point Phoenix still hasn’t confessed his feelings for Leona. He does so here, on this beach.

Leona tries to protest.

Leona: But I’m pushy, selfish, and only care about my goals... You’d get fed up with me.

Phoenix: That’s what I’ve always admired about you. That’s who I’ve been chasing all these years. That’s the only person... I love.

Sooo, Phoenix, your type is pushy selfish people who only care about their goals...? In the first, older lower-quality video translation it was “only care about my work”, too. Hm. Things to think about.

They sing a little duet together. Then we go back to present-day of what’s technically still a flashback. Whatever. Murder is happening.

Back To The Murder

So some plot things to establish: Leona is the legal counsel of Governor Miller, who is running for president in the AMERICAN PRESIDENTIAL ELECTION. After the flashback so that Phoenix has some time to change clothes, they show an interview of him talking about the murder.

Governor Miller: I vow to forge a peaceful country with my own two hands, and to prepare myself for whatever may lie ahead.

Reporters: Through thick and thin, he’s a friend of the people!

The Takarazuka musicals are not very good at hiding their killers.

Phoenix: Oh yeah... It’s almost time for the presidential election, isn’t it?

NEVER FORGET, WRIGHT. THIS IS AMERICA. LAND OF THE FREE! god what even was that line.

Anyways, we meet Gumshoe, who is incompetent once again. Maya runs around the crime scene, picks up the murder weapon, puts her fingerprints all over everything, moves things around, all while Phoenix is like “lol get a load of the world’s stupidest girl” or whatever. But who cares about that.

It’s time to get to the only valid part of this musical.

Edgeworth’s Gay Little Villain Solo

You may have seen this one before.

Edgeworth arrives, but not really. It’s like Phoenix heard Edgeworth was prosecuting and immediately entered a dream-like state, where Edgeworth is heralded by the sound of trumpets in Great Revival. He’s played by a different actress than in the other two musicals, since I think she retired in between the six or so months from this musical to the second. She still plays the role well, though, or as well as can be when you’re written in an ace attorney Takarazuka musical.

Shrouded in scarlet solitude... it’s Edgeworth.

Yes, those are six Edgeworths. Yes, they pick Phoenix up and carry him around and dance with him. Yes, it was probably not meant to be at all homoerotic.

He sings a song that’s called “My rule”. I only figured this out later, but it’s loosely based on a “catchphrase” of his in the Japanese version - in game 1 he says something along the lines of “All I can do is get every defendant declared guilty! So I make that my policy.” In DD in his dramatic anime introduction before the trial, he says “I intend to question the defendant with all I have. For that is a part of my creed.” “So I make that my policy” and “For that is a part of my creed”, to my understanding, are both translated from the same line, which I think is like, “sore ga watashi no ruru”, “That is my rule.” (If I’m wrong, please correct me.) In this song he sings about how he’ll reduce all criminals to ash and such, basically talks about his game 1 prosecuting strategy as “my rule”.

It’s very fun and probably if you want to only watch one number of this musical, it can be this one. It starts about 26:10 in the video I linked.

Once the musical number is done, Phoenix and Edgeworth stare at each other, and the background fades into the courtroom, so court begins. I feel like I should note that Phoenix has not picked up any evidence or talked to any witnesses in this investigation except for Gumshoe, since Maya just moved some things around and then Phoenix had some weird fever dream about Edgeworth which presumably took up the rest of the day.

The Trial, Day 1

Edgeworth: Consider it a prelude to the poignant Greek tragedy that’s about to unfold.

Maya: The real tragedy’s your pompous attitude!

Those are the only screenshots I took of this trial day. Here’s a summary, though:

The trial starts off with Leona confessing, Phoenix says “no I think she’s innocent”, and since ace attorney doesn’t care about the defendant’s wishes he’s allowed to proceed. For some reason Leona lets him do this without complaint.

Gumshoe is the first witness, he claims to have caught Leona red-handed at the scene of the crime, standing over the corpse. Phoenix tries to claim that since Gumshoe didn’t see Leona committing the crime, he didn’t actually catch her red-handed, to which Edgeworth responds “What do you think being caught red-handed means?”

Once Gumshoe is dismissed, Lotta takes the stand. She has a photo of the actual moment of the crime, where Leona is holding a knife in the air in front of the victim.

The Takarazuka musicals like to do this thing where the image is blurry and zoomed out, but then Phoenix will go “I’VE NOTICED A CONTRADICTION” and it zooms in really far as the resolution increases drastically in order to show you the contradiction that is impossible to spot for yourself, because they don’t want people figuring out the mystery in this musical based off of a video game where you have to solve the mystery yourself. Anyways Phoenix zooms in on this photo and sees that there’s blood on Leona’s hand, presumably before she stabbed the victim. How did it get there?

Edgeworth suggests the victim was stabbed multiple times. Phoenix says the autopsy report contradicts that. Edgeworth, uncharacteristically, does not update it to suit his argument.

Phoenix concludes that this photo is not showing the moment Leona stabbed the victim, but the moment Leona removed the knife! ... Which somehow casts doubt on her having been the one to stab the victim. Because as everyone knows, anyone wanting to kill someone would never remove a knife, it’s not like they’d bleed out faster that way, or anything.

And this whole contradiction is confusing because presumably if the victim was stabbed and then the knife was removed, they’d know that happened, because then the knife would not be found stuck in the victim’s body, since the victim was only stabbed once. So this shouldn’t be news to the prosecution that someone removed the knife after stabbing. But the investigation was headed by the most incompetent version of Gumshoe ever, so. sure. I guess no one knew.

That at least manages to extend the trial another day.

This Totally Has To Be Illegal

After the trial, Phoenix goes to talk to Governor Miller, aka Mr. Totally The Real Killer. Phoenix asks him why he decided to hire Leona as his legal advisor.

Basically, it’s because her parents were both renowned lawyers. Her father was a Chief Prosecutor, and her mother was a defense attorney. ... a prosecutor and a defense attorney couple... who does that remind us of...

Phoenix points out that just because her parents were good lawyers, it doesn’t mean she’d necessarily be one. Miller says that, sure, but she is actually really talented, and her law school marks were spectacular. Phoenix says “WHY WERE YOU LOOKING AT HER LAW SCHOOL MARKS”, like it’s somehow? suspicious? for a government official hiring legal counsel to look at their law school marks?

Apparently it IS suspicious because Governor Miller freaks out and asks if this is an interrogation. Before Phoenix can press much further, he gets a phone call, and leaves Phoenix alone in a big room.

So naturally Phoenix behaves like a fully grown adult running a law firm.

If all he did was sit in the chair, lift up a desk lamp, and poke his finger on a pen, that’s one thing. But then he leans over, OPENS THE GOVERNOR’S DESK DRAWER, and finds a knife that’s just sitting there casually. It looks like a butter knife. It’s not anything major. Maybe the dude just wanted to butter his toast?

I mean I know Phoenix will dig around in stuff whenever in the games, but he has no reason to suspect Governor Miller at all, much less dig through his drawer probably full of confidential government documents to lift up a knife that he thinks is suspicious. It’s not even covered in blood or anything?

Naturally Governor Miller’s assistant comes in just then, and Phoenix puts the knife. in his breast pocket.

bud. It may look like a butter knife, but putting knives up against your chest is not a great idea. Much less stealing a knife from a governor?

Well, in his panic, he accidentally knocks over a bunch of books on the desk. The governor’s assistant helps him pick them up, and they find a photo. Look a little familiar?

The photo has the assistant, the victim Robert Cole, Governor Miller, and the victim’s brother who died in an incident two years ago. He’s the “Neil Marshall” of this musical, and he died in what was essentially the SL-9 incident. Same general premise, except it occurred in the courthouse, and the names are different.

AND FINALLY WE REACH THE END OF ACT 1. They do a musical number here which is a weird sort of mashup of the main opening credits song, Edgeworth’s Villain Solo, and the love duet between Phoenix and Leona. They are all such different songs that it sounds a little weird.

ACT 2, FINALLY

The act begins on a sour note with Maya playing with the knife and showing off her characterization, which is one of the most infuriating Maya characterizations you’ll sometimes see around the fandom by people who don’t like Maya.

Maya: Let me whip up my special spirit channeler hamburgers!

sigh.

But then we’re saved (?) by the arrival of EDGEWORTH, who is presumably just here to chat. He asks Phoenix if he’s defending Leona in hopes of winning her back, then says to keep out of it, since it’s a very important case and he can’t understand the gravity of it.

Then Phoenix says this.

Phoenix: Would you be saying that if you were the one on trial? The defendant is in a dark prison, reaching out for hope... Can you imagine the loneliness and sorrow of being ostracized?

CAN YOU IMAGINE IT, EDGEWORTH? CAN YOU IMAGINE IF YOU WERE ON TRIAL AND I WAS THE ONLY ONE WHO WOULD DEFEND YOU AND BELIEVED IN YOUR INNOCENCE??

Edgeworth responds to this by essentially rehashing his speech in Turnabout Sisters about how he needs to find all defendants guilty because he can’t guarantee their innocence and all that. Maya gets upset and leaves so that Phoenix and Edgeworth can talk about their childhood in private.

Phoenix once again complains about how people change since nine years old.

Phoenix then says that he has something Edgeworth doesn’t: the POWER TO BELIEVE! Then Maya comes in and tries to spike Edgeworth’s coffee, so he leaves.

The Class Trial

Phoenix explains a bit about Edgeworth and his backstory to Maya. Namely, the class trial. Phoenix was accused of stealing lunch money, Edgeworth stood up for him, but instead of Larry, Leona stood up for him. I guess Suzuki Kei thought “oh the class trial, if Leona stood up for him, it would be so romantic, because she’s a woman, and he’s a man”, or something like that.

Edgeworth wanted to become a Great Lawyer Like His Father! But then he turned cold as ice.

Phoenix: His father got too deeply involved in a case... and paid for it with his life. Edgeworth saw him murdered. He was never the same again. I bet he couldn’t forgive the criminal.

Yeah I bet he couldn’t ever forgive the person he thought killed his father all these years, Phoenix. I bet he really hates that person, Phoenix. I bet he has nightmares about that person killing his father or something, Phoenix.

Phoenix: He vanished, then returned without his mercy or compassion. He had become a monster. When he lost his father, he also lost the ability to believe in others.

So like... one of the most chilling things about this musical is that they never actually solve DL-6. This probably roughly takes place 15 years after DL-6, since they were about the same age when the class trial started, and at least Leona is 24 now. The next musical takes place three years from now, and in it, Edgeworth refers to von Karma as his mentor, implying he’s still around and doing things.

So, in addition to everything else going wrong with this musical, DL-6 still happens, but von Karma never frames Edgeworth for it fifteen years later. The statute of limitations runs out, and von Karma forever gets away with his crime. And Edgeworth has no idea.

What changes did they make to DL-6, though, you may ask? I’m desperate to know as well. In the third musical, which I’ve watched because I hate myself but am unable to fully understand because I don’t know much Japanese, there is a scene where Miles flashbacks to DL-6. It’s abstract, but he makes gun-throwing motions at Gregory, followed by a gunshot sound.

Therefore, in this musical’s internal canon, either Miles Edgeworth shot his father, or he believes he did for the rest of his life.

... moving on.

Phoenix: But he still has his humanity. It’s still there, deep down inside!

At least, if nothing else, Phoenix still believes in him. Even this Takarazuka Musical couldn’t touch that.

The Feenie Sweater

Right after this, Larry barges in, and Phoenix leaves him alone with Maya. The musical tries teasing Larry/Maya, but fortunately, Maya’s having none of it.

Maya: You’re barking up the wrong tree.

Props to this musical for not being as bad as it could have been.

After this, the two sit down on the couch, and Maya asks for more gossip on Phoenix and Leona. Larry launches into a story, which turns into a flashback that ends up being narrated by Phoenix halfway through. This one’s about Phoenix and Leona’s relationship.

This is an interesting line in here, “I’ll guide you to the future”, for it loosely referencing the sort of love ballad Phoenix sings with Lucia in the second musical which is about “I’ll take you to that radiant future”, and he later sings to the memory of Leona right around the time of his big spiral into despair.

I’m sorry if you haven’t read my other essay and just said “wait what” to what I just typed.

Leona was getting ready to move to New York to defend the weak “in the big city”. This is rather strange wording because it implies that California does not in fact have a big city. She says some things in her conversation with Phoenix that probably plant some of his later issues.

Leona: This is the first time we’ll be apart since we were kids.

Leona: We promised we’d always be together.

Leona: I’ll be waiting. Waiting for you to come to me.

Haha. Sure would be a shame... if something were to happen... and they wouldn’t be able to be together anymore...

So some dancers wearing black come in and take off their outer jackets, to symbolize the passage of time. They circle around Phoenix and Leona. In this, you can just barely see, Phoenix is wearing a pink sweater beneath his jacket.

“Oh,” I think to myself, “Is that the Feenie sweater? Are they including it here as a reference to the games?”

Then the dancers keep moving.

THAT IS NOT THE FEENIE SWEATER. That is a pink sweater with a sexily drawn woman on it.

This is the other half of the reason why I decided to go through with making this essay.

This is so incredibly funny to me. Suzuki Kei Who Has Played The Games Seven Times has seen the hand-knit bright pink sweater with a giant red heart on it seven times. The sweater Iris, Phoenix’s girlfriend, lovingly knit for him that he wears all the time even though it is one of the tackiest, cheesiest items of clothing to ever exist. And so, when the costume designers were designing the clothes for College Phoenix Wright, they asked themselves: “Should we include the Feenie sweater?”

and “NO,” someone must have shouted, “NO, we can NOT include the Feenie sweater, it is PINK and it has a HEART on it and it’s TOO GIRLY. Phoenix Wright is a MANLY MAN. He would not EVER wear something PINK with a HEART on it.”

“BUT,” someone else said, “it’s a REFERENCE to the original games, where he DID wear a pink sweater with a heart on it! We MUST include it to pander to the fans!”

“WAIT,” a third person interjected. “I have a BRILLIANT IDEA. We can keep the pink... But to make it VERY CLEAR he is a heterosexual, masculine male... we put a sexy woman on it.”

And Person Three Got A Raise.

Thank god we’re finally halfway done this musical.

We Just Have To Go On With Our Lives Now

There’s plot or something happening. Leona breaks up with Phoenix inexplicably over the phone. Probably because of that freaking sweater. Imagine wearing that. God.

Eventually we go back to Phoenix talking to Leona, and he asks about the Jack Lyon case, which is the rip-off version of the Joe Darke case. Leona is pretty cagey about it, but Phoenix proves that she was there in the gallery that day. Leona refuses to answer, claims again that she killed the victim in her case, and leaves.

This makes Phoenix sad, so he starts singing.

Phoenix: I want to bring you back! I believe in you.

If this sounds familiar, it’s the part where I started absolutely losing my mind in the second musical because this line had never shown up before then, I’d forgotten it was in this musical, and Phoenix was screaming it alone in a red room, so I thought he was like desperately resorting to a necromancy ritual in hopes of bringing Leona back to life.

Instead, this line actually has CONTEXT, though it does just end up enforcing my theory. This is Phoenix mourning what he used to have with Leona, wanting to bring the “old her” back, because he’s devastated that people sometimes change. There are several flashbacks of their college days where he’s wearing his Sexy Woman Sweater. He does succeed in winning her back at the end of this musical. Before she dies, of course.

Phoenix in musical 2 still believes that he can bring back what he used to have with Leona... even beyond death. That’s something affirmed by this musical. I’m very grateful to it for somehow managing to enforce my nonsensical theory.

Doctor Ema

After this, Phoenix returns to his office, and meets with someone new.

That’s right! Only now, halfway through the musical, do we actually get to meet the Ema-equivalent to Leona’s Lana-equivalent. Her name is Monica Clyde. She has little rainbow heart stickers on her briefcase, which is the closest thing this musical has to acknowledging that gay people exist.

But what does this little briefcase contain, you may ask? Scientific investigation tools? No.

A full surgical toolset. Because you never know when someone’ll get sick, or when someone will need an entire operation in front of you. I guess.

So yes, Monica Clyde is not a forensic scientist in training, but a doctor! She decided to become a doctor because of her parents, who passed away of The Sickness, and so became a doctor in order to save lives like theirs.

Once more this has much darker and deeper implications than the musical is even aware of, because Monica is so anxious about treating sick people that she carries a full surgical toolset around with her at all times, scared to lose someone like she lost her parents... and then sometime in the next three years, Leona, her big sister, is going to die.

Of what? The strange Sickness that claimed her parents? A car accident? A botched spur-of-the-moment surgery? Whatever it is, Monica was unable to save her, even when she’d been training her entire life for it.

Monica is not mentioned at all throughout the second musical. It’s as if she does not exist.

Because unlike Ema of Rise From The Ashes, Monica is not at the heart of this story. She is, primarily, a plot device here to make Leona not trust Phoenix so that he can angst about their relationship.

What a mess this world is.

The Trial, Part 2

Rather than try to prove Leona’s innocence, Phoenix wants to link the current case to not-SL-9, the Jack Lyon case. He does this by showing this picture.

Senator Cole, the victim, is in this picture. His younger brother whose name I’ve forgotten, the victim of not-SL-9, is also in this picture. They are brothers. It is apparently novel that they are in the same picture, and somehow makes their cases linked.

As well, Governor Miller is in the picture. I guess you could say like... Governor Miller’s legal counsel is the defendant, so that’s another link? Even though the Governor would presumably know a Senator, so this isn’t an unusual group. Right now Phoenix has absolutely nothing to prove that these two cases are linked other than “hey, these two victims are brothers”, but apparently it works. So they spend a lot of time talking about not-SL-9, since Leona has confessed to the murder on day 1 and there is absolutely nothing indicating that she can’t be immediately declared guilty.

They hid the fact that Monica was a hostage in this not-SL-9, meaning that some of the case records were forged. Here’s Edgeworth’s reaction when this comes out.

Edgeworth: This is an outrage! I’m the most influential prosecutor in America! There’s nothing I don’t know!

In RFTA, when Edgeworth learns he’d been using forged evidence to give a man the death penalty, he is devastated, his entire worldview is shaken, he sees himself as a monster who could end up becoming horribly corrupt if he isn’t stopped.

Musical Edgeworth goes “I DIDN’T KNOW SOMETHING???”

It’s certainly strange characterization, but I guess Edgeworth is further behind in his character arc than in RFTA, so... ugh. Fine.

Phoenix calls Monica out as a witness to prove she was involved in the case. This causes Leona to panic, and try to dismiss Phoenix as her attorney, like Lana in RFTA, but Edgeworth interjects to call Monica in anyways. He and Phoenix have a little moment.

Edgeworth: You said to believe in others. I suppose I’ll try believing in you. Try to keep up.

Phoenix: Edgeworth!

So Monica comes to the stand to testify. We get to see this picture of Monica being held hostage, and not-Joe-Darke’s incredible eyeliner.

Lots of it is very similar to the actual RFTA, except instead of the victim being stabbed on the knight with the giant knife, he’s instead stabbed with a regular old knife. Leona still refuses to admit to what really happened, until Edgeworth convinces her to believe in Phoenix.

Edgeworth: Your attorney is a runaway train with a one-track mind. Yet he placed all of his faith in you. Believe in him. You owe him that much.

Leona testifies, and says that when she found the victim, he was stabbed with a scalpel.

Here is where things get weird.

Scalpels Can’t Kill People

So basically earlier in this trial, they talk about how Leona knew that the knife that stabbed the victim was double-edged despite being buried in his chest. The judge questions if this means Leona killed him, but Phoenix is quick to say no, she was searched when she entered the courthouse and couldn’t have concealed a knife.

Yet, Monica was able to bring in her surgical toolkit which contains several sharp knives, scalpels, scissors, etc.

This is the first major contradiction.

Leona continues to say that when she found Monica, and the scalpel stabbed in the victim, she also ran into Governor Miller, who if you haven’t been able to tell yet is the Gant-equivalent of this musical. He offered to help her with the cover-up, etc.

The next bit goes a lot like RFTA. Phoenix accuses Governor Miller, who barges in, says Phoenix has the decisive evidence in his pocket. This is the “butter knife” that Phoenix took from his office when he dug around in confidential documents and stole it for no particular reason. It has Monica’s fingerprints on it! ... And Phoenix’s and Maya’s too probably because they were handling it without gloves, but they don’t mention that part.

Leona cries about how she shouldn’t have trusted Phoenix because he was apparently now blaming Monica, Monica looks terrified, she and Leona have some good sister moments but it’s not as good as it could be if the story was actually about Leona and Monica like how RFTA was about Lana and Ema. But Phoenix has the decisive piece of evidence that can turn this around.

It is this:

Phoenix: Scalpels are made for medical incisions, not stabbings. So how did it stab the victim?

...

... What?

So like. Yes, scalpels are made for medical incisions. Medical incisions often involve cutting through flesh, very easily. As a result, they are sharp. Extremely sharp. As in: their purpose is literally to stab people, very specifically.

Yes, they’re easier to control, so that surgeons don’t regularly stab people how they’re not supposed to be stabbed, but it’s not like, impossible to stab someone in a killing way with a scalpel? Admittedly, I have never tried to kill someone using a scalpel. And I do not have experience using a scalpel for surgeries because I am not a surgeon. But I’m pretty sure, if you take a sharp scalpel, and you stab someone in the chest with it with a reasonable amount of force... they die.

Like, is this a particular kind of scalpel that is not very sharp? Is the problem that the blade doesn’t match up with the initial wound? But even then, we don’t have the original unforged autopsy report or even a picture, so how would Phoenix know what the original wound looked like to say it didn’t match up? And even then why wouldn’t Phoenix say that instead of SCALPELS CAN’T STAB PEOPLE???

This is his decisive contradiction and it makes ABSOLUTELY NO SENSE TO ME!!!

Well Darn I Guess Scalpels Can’t Kill People

This is such a decisive piece of evidence, that scalpels can’t kill people, coming from the man who thought “caught red-handed” does not involve being caught standing over a corpse with blood on your hands, that it causes Governor Miller to confess.

Unlike Gant, who created the murder with Neil Marshall both to ensure that there was decisive evidence to convict Joe Darke, a serial killer who had not left any decisive evidence behind, and gain control over the prosecutor’s office in order to pull similar stunts to get criminals convicted using false evidence, Governor Miller does not have that as his motive. After all, he’s not a police officer. Instead, he ended up accidentally killing not-Joe-Darke, and then set up the incident in order to get Leona on his side. As her parents were both influential lawyers and very respectable, having her and her parents’ reputation on his side could help him become President of America Where This Takes Place.

So, let’s just take a moment to run over some of the things that made the original Rise From The Ashes great, in my opinion. Just for fun.

1 - The heart of the story between the Skye sisters. Lana closing off to protect Ema, Ema wanting to get through to her sister and get back to the way things used to be. Phoenix, in this story, is more of a bystander to this plotline rather than in the heart of it himself.

2 - Edgeworth’s Character Development. Basically RFTA creates an interesting transition between Turnabout Goodbyes and JFA. It causes Edgeworth to re-evaluate everything he knows about being a prosecutor. So quickly on the heels of Turnabout Goodbyes, it crushes the last bit of hope in him. It compares him to Gant, who also hates criminals, and forces him to wonder if his hatred of crime will one day lead to him being a criminal himself. He’s already convicted one person on forged evidence; how many others could there be?

3 - The Ends Justify The Means. ... wait come back, don’t leave. What I found neat about this case was also Gant’s motive. At one point he was presumably an honest person who hated crime and wanted to stop criminals. But over time in the police force, he became corrupted. He wanted to have all criminals convicted. So what do you do when you don’t have the evidence to convict them? Joe Darke was a serial killer who has killed several people and may have killed more if he’d gone free. The only way to stop and convict him was by using forged evidence. Other criminals could hide evidence to get away with their crimes, so people like Gant would make it up to catch them; but then when do you stop? What happens if there’s no evidence because someone is truly innocent? When does the line between “this person is a criminal and I want to stop them” and “I just want to convict everyone I’m dealing with” become blurred? This is also something he shares with Edgeworth and helps to advance his character.

All three of these things are either lessened or outright ignored in this musical. Leona and Monica’s story takes a backseat to Phoenix and Leona’s Love Story, with Monica only showing up halfway through, and mainly as an excuse as to why Leona is withdrawn. Edgeworth doesn’t seem to blame himself for the forged evidence he used, and doesn’t have a crisis questioning his morality over it. And Governor Miller’s motive is purely power. Unlike Gant, who would have become Chief of Police whether he solved SL-9 or not, Miller needed Leona to win the presidency. And instead of asking her to help him with his campaign like a normal person, he just blackmailed her instead.

... How do you play the games seven times and miss this much?

The Case Finally Ends

god. we’re almost there.

The case ends, Leona is declared not guilty but will still face trial for covering up murders and such. Probably less of a sentence than Lana because she was not involved in ongoing police corruption? Either way she’s dead in three years, so she’s got something a bit more concerning coming up.

She’s led away. Phoenix sings a bit about Leona before being interrupted by Edgeworth... who has something important to tell him.

Edgeworth: You awakened within me those once-cherished emotions I had discarded. I see visions of a distant, nostalgic past.

So basically this is the unnecessary feelings of the musical. Something along the lines of “seeing you again and fighting for my former ideals is making me question many things about myself.”

How does Phoenix respond?

Phoenix: Edgeworth... Try talking normally for a chance.

Sure, we were all thinking it, but that’s a little cold, Phoenix.

Edgeworth tries a smooth recovery.

Edgeworth: I don’t do... idle chit-chat.

This doesn’t accomplish much. So he leaves to allow Leona to visit with Phoenix alone. He’s got to go change for something more important coming up.

Leona and Phoenix decide that they’re going to get back together once Leona is done her sentence! They make a promise that is very funny if you know she’ll be dead in three years.

Phoenix: I’ll be waiting. For you.

There are a lot of hugs here, I’m not screencapping them all. There are also several moments where their faces get very close together and like, their nose brushes the other’s cheek or something, but they never actually kiss. Is it because the actresses weren’t comfortable with it (valid), or they thought kissing would be too much for the musical (sure, whatever), or since both characters are played by women the show staff did not want two women kissing on stage (probably the real answer)? I don’t like watching kisses, but I kept bracing myself for one and then it never happened, so.

Phoenix ends the main part of the musical with one last musical number starring my personal favourite piece:

Phoenix: I want to bring you back! I believe in you.

I like to think that at this point, this is present-day Phoenix, after finishing his reminiscing, still desperately wishing he could bring Leona back from death.

But alas, he cannot. And so, after one last daydream of them dancing together on the beaches of California, singing about their love, the musical ends.

Dance Time!

This starts at exactly the two hour mark, if you’re interested in watching what is, once again, one of the only fun parts of this musical.

Seriously, Edgeworth’s actress kills it here, when I first saw this I went “oh, this is why I saw so many people being gay for her on twitter.”

Edgeworth’s song is an encore of “My Rule”, so it’s lots of fun. Afterwards Phoenix gets another fun piece.

Then we get to the love ballad part, which I can probably overanalyze, I feel like I haven’t done enough ridiculous over-analyzing in this essay in comparison to the other.

Uhhh so the fog represents how Phoenix feels lost in this world without Leona. You can see it in the second screenshot separating the two of them, representing the barrier of death between the two of them. Idk it’s midnight I’m getting worn out from having to think about this musical for so long.

But his mourning over Leona’s death becomes even more apparent in the credits, where Phoenix sings that one line again:

Phoenix: I want to bring you back! I believe in you.

I’m not fixing that screenshot, I think it’s oddly fitting, in a way. That’s me right now.

Then at the very end, he sings this song.

Phoenix: I’ll spend... this eternal life... soaring through... the heavens!

Technically, this refers to his name Phoenix, but let’s dig a little deeper. He spends the rest of his life soaring through the heavens... the heavens that Leona went to after her untimely death, perhaps?

Overall, the musical becomes much more interesting when you just see it as a prequel to the second musical. This musical establishes many core concepts of Phoenix’s character: his refusal to believe in the concept of things changing, for one, and also his extreme dependency on Leona who he was never separated from since they were kids and where he based his entire life around her dreams and ideals. All he can think about is her. And in the end, he promises to wait for her in California.

Yet, to paraphrase Miles Edgeworth, all that is waiting for him is her death. Their dream of opening up a Mom & Pop Law Firm will never come true.

Thanks again for bearing with me even though this wasn’t as funny!

#ace attorney #phoenix wright the truth reborn #idk maybe someone wanted to know what the first musical was like without actually watching it?#my essays #my posts #i'm TIRED i'm going to BED goodNIGHT #this is less funny jokes and more actually criticizing the musical #because so much of this is like. wow. you really thought that was a good idea huh #just skip to the feenie sweater part honestly that's the funniest part of this musical

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c-aureus · 4 years ago

Text

My opinions on the relationship between Link and Zelda in BotW, and why I personally detest romantic BotW Zelink:

A strong title, I am aware. I'm aware of the risk this runs of causing a right shitstorm lol.

I'd like to preface this essay with the disclaimer that all of the following are merely my interpretations. It is completely fine if you disagree with me.

My views are not any more or less valid than anyone else's, and do not invalidate conflicting opinions.

Nevertheless, if you are an avid BotW Zelink shipper who does not wish to hear a great deal of criticism about this pairing, then I suggest you do not read this post.

If, however, you are curious to hear my opinions, then I merely request that you keep an open mind, and be respectful of everyone else's interpretation. I will admit that these interpretations are integral to my characterisations within my fanfic series.

OK, so. Firstly. I do not think that anyone can reasonably argue with the fact that Zelda treats Link AWFULLY in the earlier memories. Indeed, BotW makes a rather large point of showing just some of the ways Zelda mistreats Link.

For context, Link is appointed as Zelda's Royal Guard by her father, the King. It is, therefore, his sworn duty to protect her, and he doesn't really have any say in the matter. But I believe that he would be proud to serve his kingdom in this capacity.

Zelda, however, takes great offence to his presence. She takes out her frustration by constantly belittling and berating Link, (knowing that she will not face repercussions for her mistreatment due to their respective positions) and repeatedly trying to escape his escort, despite the fact that he is there for her safety, and despite his best efforts to be as unobtrusive as possible to her.

And then, when Link finds her, because he is devoted to his duty of protecting her, she berates him again.

For merely doing his job.

What Zelda is showing here is that she holds utter contempt for Link and his duty, and actively tries to make his job, and his life, miserable. I cannot imagine the stress Zelda's constant absconding would have on Link, given that if he fails his duty to keep her safe, it's his arse on the line. Plus the entirety of Hyrule's arse too, given Zelda's destiny that she needs to perform.

We know from Zelda's diary that Link, despite his blank facade, IS hurt by her blatantly hurtful actions, as is completely natural and normal in his circumstances.

Now, to be completely fair, I believe that Link is highly sympathetic to Zelda. He understands why she mistreats him, especially since Urbosa spells it out in her cutscene. He understands that Zelda is in an unenviable position, and that she is taking out her frustration and anger for not being able to live up to her destiny on him.

However, despite this understanding and sympathy, that does not mean that the hurt Zelda has caused him vanishes.

He has an explanation for her behaviour. But it is NOT an excuse.

So anyway. Zelda's behaviour continues until the Gerudo desert. Remember that Zelda fled from Link's protection (again) to go to the Gerudo Town, where Link is not allowed to set foot as a male. After he tracks her down to Vah Naboris (in the dead of night - dude must have been walking all day across a desert to reach her), Zelda's first reaction when she sees him is scorn. I can't imagine how hurtful that must be.

Anyway, the next morning, Zelda ditches him YET AGAIN, making her way across the desert alone.

When she is jumped by Yiga Assassins. Who come within moments of killing (or worse, capturing) her, until Link comes flying out of nowhere to save her.

(On a little side note, some people think this is where Zelda fell in love with him. And really, at this point, Zelda knows nothing about him, since she'd never before given him the time of day. She, at best, has a crush on the concept of a Saviour)

Now, fair play to Zelda in that after this pivotal moment, she changes her attitude and behaviour towards Link, even admitting to her previous faults in her diary. This shows a surprising maturity that contrasts her previous childishness.

However, again, this does not make all of the hurt she caused him just vanish.

Now, over the next months, I believe that Zelda and Link became very close friends. Especially given that Zelda was so starved for relationships. And they come to know each other very well, especially with Zelda sympathising with Link's lack of choice in his own destiny, similar to herself.

However, well... even after this point, Zelda still mistreats Link.

I'm referring primarily to the Frog Cutscene.

Now, to preface this, in this instance, I do not believe that Zelda is behaving maliciously to Link intentionally. I believe that she is trying to tease him.

However, her behaviour is not ideal.

In this cutscene, Link shows extreme discomfort with Zelda's insistence that he eat the live frog. This is especially significant, given his usual stoicness. The fact that Zelda causes this reaction means that he feels extremely strongly about this issue.

However, Zelda keeps insisting and pushing him, effectively taking her teasing too far, and causing Link more discomfort. Because who would want to eat a frog? (No offence to French people).

Now, coming from my own experience of having friends take teasing too far with me, and having unfortunately done the same with other people, I can say with absolute certainty that Zelda's behaviour here is not ok. Especially given Link's very apparent discomfort here.

However, there is also another aspect here that I've never seen anyone else mention.

Namely that, despite Zelda's wishes of friendship, she holds authority over Link, as Princess of the Kingdom.

As a Knight, he is duty bound to follow Zelda's orders and instructions. And one could argue that Zelda's insistence could be viewed in the context of her 'ordering' Link to eat the frog. Of course, I do not believe that this is her intention, but, from Link's perspective, there is definitely cause for reasonable doubt.

Which forces Link into the exceedingly awkward decision of having to refuse what MIGHT be an order from the Princess.

And, especially framed in the context of Zelda's previous immature, unfair behaviour towards him, he doesn't know if his refusal might cause Zelda to get all stroppy with him. Let alone other, more significant consequences that might arise from disobeying his superior.

And I feel sorry for Zelda here, seeing that she wants to view Link as a friend (or potentially more), however she must know that they are both bound by their respective positions at this point. Her behaviour is... inappropriate, and as sorry as I feel for her, that does not change the fact that she's dumping Link in an extraordinarily awkward position, and being very unfair to him.

Because, if Link does take issue with her behaviour, what can he do to stop it? Zelda is the princess, and he has no right to tell her what she can and cannot do.

Now, that is effectively the crux of my argument, however I will also note that I interpret Link to be extremely depressed in BotW, due to how much he has lost, and how he is grieving the deaths of well... everyone he's ever known, many of whom he cannot even remember. He's grieving the death of an entire civilisation, as well as people extremely close to him.

In such circumstances, it would be natural for him to resent the fact that Zelda did not awaken her power sooner, and resent Zelda's decision to have him resurrected, even in spite of him understanding the necessity of it.

Basically, whilst I interpret Link and Zelda to be very close, I am very strongly against the idea that Link would form romantic feelings for her, due to his formative impressions of her being filled with mistreatment and abuse. Whilst I do not doubt that he forgives her, the fact remains that first impressions are important. And Link's first, second, third... (and so on) impressions of Zelda are... unfavourable.

If this happened to me, then, perhaps with a healthy dose of sympathy and understanding, I could come to forgive the one who has mistreated me so extensively, as I believe Link does for Zelda.

However, I do not think that I could ever fall in love with them.

And, whilst this was not meant to involve my interpretations about Miphlink, I will say that during the whole time Zelda was abusing and disrespecting Link, Mipha was nothing but kind, accepting, caring and devoted towards him.

As such, if the sequel explicitly puts Link and Zelda into a romantic relationship, or even just strongly implies it, I will be...

Honestly, I'll be furious. Because this would run so completely contradictory to all of my interpretations about BotW and the characters.

I pray that they write with subtlety and leave reasonable room for interpretation.

Once again, these are only my interpretations. If you wish to add your own, then feel free. I'm all for having a reasonable, respectful and informed debate on the matter. However, please remain respectful of other opinions, whatever your interpretation is.

#botw #botw2 #loz botw #botw link #botw zelda #loz breath of the wild #zelda #link #miphlink #link x mipha #mipha #urbosa #lipha #long post

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colourful-void · 3 years ago

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Supporting Satoshi - an examination and comparison of JN36 and XY121

Part One: Snowballs do not cure depression but it was worth a shot

You know that episode of Pokemon where a gym leader beats Satoshi in a battle so hard that one of his pokemon gets mildly hurt (though there's no long term effects) and because of it he becomes depressed, closing himself off from his friends before someone comes along to pull him out of that mental state, and also severe weather phenomena is involved and a reflection of a persons mental state? Or rather, the two episodes?

So when I was watching Journeys, I noticed an episode that had a similar-- but distinctly different-- plot to an xy episode I had seen before. And what was particularly interesting was that while I couldn't stand the xy episode, the journeys episode was one of my favourites. I won't drag this out for you guys, I love the journeys episode and re watch it a LOT and the xy episode sort of just leaves me with a sour taste in my mouth. and don't go claiming its solely ship bias, because i saw the xy episode first and disliked it then.

This will analyze both of these episodes, comparing them against each other. Specifically within the context of how Goh and Serena both help Satoshi through a similar situation There will be some discussion of AmourShipping and Satogou in this analysis. I'm going to be a bit negative regarding Serena's actions and the potential "romantic" weight of them here, but I want to be clear that I Do Not dislike Serena as a character. Personally, I wish the writers had given her more room to grow outside of her romantic interests, but I do not hate Serena as a character. I do, however, disagree with her actions in this episode. Please don't take this out of context and dont be ship fighting in the comments, it's boring. This is a comparison of These Two Episodes, not of Goh and Serena and their respective ships as a whole.

This part mainly focuses on the xy episode and the second will focus mainly on the journeys. It's only divided into parts because of the tumblr post limit.

(If you like the xy episode or hate the journeys episode, awesome! having your own opinions is great. these are mine though, so i hope you'll listen to them)

With that out of the way, let's start. And I'm going to use mostly japanese names here because I'm taking screencaps from the subbed japanese copies.

The set up for each of these episodes is eerily similar as pointed out in the gag at the start.

Xy has a bit more set up before the episode in question though, with the initial loss and retreat into the forest by Satoshi taking place the episode before. The episode opens up proper with Satoshi taking time to breathe to himself, alone in the forest.

Emphasis is placed on him taking a deep breath, aided by the visuals showing them (thanks cold air) and the silence of the rest of the soundscape, with the only other sounds being the wind and some bird pokemon, plus some falling snow.

Journeys Satoshi starts off in a better mental state than Xy, with the episode starting off with him jogging along with his pokemon.

However, we can still see that he's been affected by the last battle he lost, against Saitou, as he's putting a lot of effort into training and doing better.

Which, doesn't go well for him, as he loses his next two battles as well, and drops in the World Championship ranking as a result

And he's pretty upset about it too. Same thing as over in xy. In both cases, a respective friend/love interest notes that Satoshi is upset and expresses concern.

He's got support from his friends in both situations! But that support comes across in very different ways.

But, to understand how that support manages to affect Satoshi, we need to understand the problem at play.

Now, I wanna make something clear here. Satoshi's problem is not that he is a sore loser. I'm not arguing that's not a contributing factor, or that he's not upset about the loss (particularly in the world championships), He's still bitter about the lost part, but the root of the problem is not losing, he's been shown to be fine with losing (if not a bit more motivated to win now) in prior episodes.

Satoshi's problem is that his pokemon are getting hurt. Satoshi's problem is that his pokemon are getting hurt, because they're losing battles. Satoshi's problem is that his pokemon are losing battles because he's not training them well enough. And to clarify, that's not my viewpoint, it's his. Satoshi's problem is that he's not good enough for himself, and he feels that that's something he has to fix on his own.

So how do we help him?

Our weather event in question is introduced in separate points in the episodes, but I'll cover them both now.

In xy, it's this snowstorm, which conveniently becomes a problem directly after Serena returns to the Pokemon Centre.

In journeys, it's a sandstorm! That's in near direct contrast to a snowstorm! Incredible.

Heading back to xy Satoshi, things aren't going great in the forest. Luckily, Serena's run off to find him.

I think it's of note here that Serena runs off with the best intentions, she wants to help Satoshi, plain and simple. It just sort of goes wrong along the way.

It's worth noting that Xy Satoshi tries to bring himself out of being sad by the tried and true method of "stop being sad"

Despite telling himself this, he doesn't get anywhere. Which makes sense, because it's not getting the the root of the problem. It's not even addressing it at all. He's just trying to 'be better', which isn't even a battle strategy. However, it is something I can see him saying, so this isn't a critique of Satoshi's thought process, but me pointing out that this isn't really effective. Which is supported by the narrative, because again, he doesn't get anywhere, he doesn't even move.

I can't show it in screencaps but the lights in Satoshi's eyes are shaking here, something that they consistently do throughout the series when he's feeling a particularly strong emotion. Keep that in mind. It couples well with another trait of his, and that's his hat!

And by that I mean how he hides his eyes with the brim of it when upset, something he does exactly as Serena shows up and calls out to him. Now, he's not upset that Serena is here. He's upset about the pokemon stuff still. He's trying to hide the fact that he's upset from Serena.

Serena starts off with her speech well, trying to appeal to Satoshi to let her in and talk things out. And maybe it's because he wasn't ready for it yet, or because of the way she phrases it (a lot of 'i' and 'me' language which can be helpful but can also come across as though she's making it about her. not her intent i don't think, but a possible interpretation.), it's not her fault for how Satoshi reacts regardless.

But how Satoshi reacts is not good.

Now it's really interesting to note that before this, Serena was standing while Satoshi was sitting, putting her above him in terms of active power, when it comes to how the shot is presented, but when Satoshi stands up, the camera tilts with the movement so that they're on equal level. Neat!

And Serena yells in return, scolding Satoshi for not talking about it. Not the best move, since pushing someone to talk about something that's upsetting them isn't really productive, but she's trying here and she's frustrated.

Satoshi continues to withdraw and self isolate, claiming it is his problem and that he wants to be left be. Now, this is the mindset of a clearly upset person and isolation may not be the best option, but he did make the explicit request to be left alone here.

He's clearly upset as he turns away from Serena's eye and slumps over a little.

And then Serena throws a snowball at him.

Angry as he is, you can see Satoshi's expression change when he sees Serena's reaction.

Serena tells Satoshi that she's not like the Satoshi she knows, who is always full of energy and positive and a leader, and a bunch of other positive traits. The problem here, is that Serena's looking at an idealized version of Satoshi. And while the intent here was probably meant to be something more like "you have so many wonderful traits about you I know you can do this", coupled with the snowballs and the phrasing, it seems as though Serena is scolding Satoshi for being sad.

Or rather, being angry with him for not living up to her idealized version of him, and not wanting him to express any negitave emotions.

Which is sort of a really bad mindset.

The snowballs continue, never once does Satoshi fight back. In fact, he stops arguing entirely after the first one. Serena knocks him off his feet and tells him he's not being himself, before running off. (In the english dub, Serena claims that Satoshi isn't being "the real satoshi" and then demands that the real Satoshi be "given back", so it could be worse)

Satoshi decides to literally run his problems away, because it will help him reach some kind of conclusion, and immediately trips and falls down a large hill. No, I'm not making that up. Something like this just isn't like him. He's just gotta stop being sad!

Now personally, I really disagree with the idea that "being upset" isn't "like a person". That's because based off of my own experiences, I know it can be really damaging to hold the mindset that any negative emotions you feel aren't a part of you and that you shouldn't be upset because you're usually a positive and happy person. Not the case with every person, but I personally really have a problem with shows telling children that they just shouldn't be upset instead of processing their emotions in a meaningful way. (The journeys episode doesn't do an outstanding job of it either, but this is a bit of a tangent anyway. A show that does do this right is "OK KO! Let's be Heroes" which actually deals with this problem in greater depth and does a fantastic job of it.)

But the snowball scene ends here. Now I'll get back to Journeys in a moment, but since Serena has finished her part of the comparison for the most part, I'm going to summarize a bit more of the xy episode.

Satoshi decides to literally run his problems away, because it will help him reach some kind of conclusion, and immediately trips and falls down a large hill. No, I'm not making that up.

The snowstorm kicks in, Serena get back annoyed, then similarly groans and yells, and the whole xy gang + pokemon go running off in search of Satoshi. Pikachu appears the most concerned.

Now Serena tells the others she lost her cool and said something horrible to Satoshi, but explains its because Satoshi is someone she admires. Cool motive, I get it, still kinda bad.

and in the end, it's not Serena's words that get he message across to Satoshi. The solution to this problem was Satoshi finding a way to reaffirm his abilities and instinct.

In the xy episode, he helps some pokemon out of the tree, and when his very cool frog friend shows up, they're able to work together with their bond to save this one from falling off a cliff.

Here's the point. Satoshi learns by doing, by actions. He needs to see first hand that there are ways of getting past his problems, and that it's worth having the courage to keep going. The lesson is about valuing pokemon as equals and partners, and specifically that trying to be better as the trainer alone isn't going to help.

This is essentially where this plot line ends, team rocket is there for a bit as well but as much as i love them they're not relevant here, and some fun stuff with the league, love it not important right now its like 3am and I'm not sleeping until this is finished so we gotta keep things moving.

This was no doubt Serena's intent to get a similar point, but she goes about it the wrong way. She tries to convey this with words, as conversation and motivational words have helped her in the past (Elle's words of praise stick with her, Satoshi's words from when they were kids, etc). It's a good idea, but their different ways of learning and growing from a similar situation are incompatible, and that's why things don't work out in Serena's favour. There's also still the problem of "pulling yourself together" not being helpful in this case.

There's also a very similar line in this scene to the one at the end of the journeys episode, as Satoshi says to his frog that they should start over from scratch. It's essentially the same phrase with different wording. It's great. The Storm ends as he realizes this as well! Wonderful in terms of pathetic fallacy.

The gang all reunites, its nice. Satoshi thanks Serena for what she said after apologizing to everyone, which contradicts what he said earlier but I've already established that I dislike this message here so I won't go over it too much. I guess he's right in a literal sense in that in response to her words he went and ran until he tripped off a cliff but the emotional growth here was because of his own actions (and the frogs), not Serena's. Sorry Serena, you'll get em next time.

So. What about Goh?

Well...

(Part Two here on account of image limit!!)

#pokemon #anipoke #pokeani #pokemon analysis #pokemon xy #pokemon xyz #trainer ash #trainer serena #trainer goh #i dont wanna use the amourshipping tag to put negtivity in it that seems mean #analysis #this was written in the 2-3am area but the next part was written 12 hours later so thats a neat fact #long post

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the-ghost-king · 4 years ago

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love seeing ur tags on my posts it means i get to think 🥰🥰 anyway mostly agree but at least to me nico’s constant need to prove himself is a sign of feeling like he’s not worth other people’s time and effort and he has to MAKE himself worth it. he does all he can in the hopes that people will notice him and tell him that he’s good enough because he relies on the approval of people he loves. he thinks love is something conditional for him and that he always has to be earning it because he doesn’t have enough worth to have it just granted to him. again this is more my own interpretation of his character and possibly a bit of projection

(Post)

I will not fail to acknowledge that I might also be projecting somewhat onto Nico, what is media but self reflection? I think there's a couple ways you can see Nico that are canonically "correct"

What I personally think happened with Nico is that he was aware he was worth more than the treatment he was receiving, but because so much rejection occurred he eventually just assumed he was the problem. There's things on this I would rewrite now but it holds up okay in what I'm about to try and explain.

The thing about being rejected is that the first time you argue it's the other person. And the second time you'll argue it's still them. If you're still arguing it's other people the third time, maybe but it's thin ice... But eventually you just have to accept that you're at fault.

I think this is something that really describes Nico. He is never able to nestle himself in the comfort of sameness after a certain point. He is not given authority in his own story in the beginning, he is thrust into solitude, he is told he is a monster already and if not then he has no choice but to become one.

And he takes this blame upon himself, believing that it's him who has to prove himself. He doesn't acknowledge that maybe other people have their own biases against him, he says "I have to prove them wrong," and then does his best.

It's important to note that Nico is definitely grappling with Childhood Emotional Neglect, he's in a broken situation- and he recognizes that nobody wants him around, and that he's just more stress for an already stressed group of people, so he just backs down and starts to figure stuff out for himself. We see him accept some help and friendship from The Stolls in TTC but eventually he stops doing this at some point.

His leave from camp and time with Minos is when he is used:

you unknowingly wear your heart on your sleeve and people will see this and take advantage of your trusting nature and unconditional love and they’ll never really love you they’ll just see you as an easy tool to be manipulated and used how they see fit and you won’t recognize that this is a bad thing because you don’t believe you’re worth anything more than this

This is something I would say is very true about this time period of Nico's life. Minos emotionally exploits Nico, emotional neglect and abuse (possibly physical abuse, who knows) are defining characteristics of their interactions. Nico talks about how Minos will just randomly leave him for extremely long periods with no assistance, and about how when he's around he's always telling Nico to try harder, to do better, do more. Note the time he tells Nico "you have no power over me", he's definitely holding things over Nico's head. I don't think it's wrong to assume comfort is a part of that, Nico is alone all the time at this point, and I'm sure he's starved for touch, and support, and connection- and he will take whatever he can get whether or not it is good or right.

At first he doesn't do anything against this, and it might be because he was so starved for attention that he was willing to endure abuse to receive somewhat a consistent form of it. I also think there's some evidence that points to the idea Nico was getting something from Minos, training and similar stuff, it's possible he was willing to form and upkeep a toxic relationship with him in order to gain experience.

However, I do disagree with "and you won’t recognize that this is a bad thing because you don’t believe you’re worth anything more than this" because Nico does realize eventually that his situation isn't sustainable and that he has to do something- so he takes his narrative back into his own hands:

“Minos laughed. "You have no power over me. I am the god of spirits! The ghost king!" "No." Nico drew his sword. "I am.” (X)

So Nico, if he ever thought he was worth the treatment of being used for someone elses personal gain, he definitely overcomes some of it here, if not all of it. Nico is manipulated and used for Minos's personal gain, but he recognizes that it's not sustainable and makes a stand for himself. And this is the first time in the series where Nico truly is able to take control of his own narrative, everything before this moment is Nico being forced, or Nico with something looming over him, Nico crowning himself is him claiming his story.

So let's consider Hades in all of this, I don't think Hades manipulated Nico to the extent Minos did- but nonetheless, he did manipulate and abuse him, and this hurt Nico more than when Minos did it. Again, in the situation with Hades this is also true, "you unknowingly wear your heart on your sleeve and people will see this and take advantage of your trusting nature and unconditional love and they’ll never really love you they’ll just see you as an easy tool to be manipulated and used how they see fit and you won’t recognize that this is a bad thing". By the time Nico and Hades truly start interacting, we see that Nico's heart hasn't been fully removed from his sleeve, but it may have been lightened.

Here's the thing about the way Nico approached Hades, it's not naïve to trust family. The text in multiple places implies that Hades was around for at least a handful of years when Nico was a kid, it's not unlikely that Nico may have taken naps on his shoulder, held his hand to cross the street, maybe called him "Papa", "Dad", or "Tata" (Italian, English, old Greek). It makes sense that Nico goes to him, what doesn't make sense to Nico at first is that Hades would manipulate him. Unlike many of the other demigods, Nico knows he was a choice, and that at some point he was something wanted, so he expects some level of okay treatment from Hades. Hades loved his mother, and Hades if not wanting of Nico would have wanted Maria's wishes fulfilled, and Nico probably remembers Hades treating him warmly- or at least not harshly. The way Nico went to Hades makes sense, he wasn't expecting open arms surely, but he also wasn't expecting abuse.

Hades emotionally exploits Nico by using information about Maria, what would a little boy want more than the safety of his mother? He's so starved for human contact, who ever held him more than his mother? Who ever loved him more than her? Once Nico delivers Percy to Hades, his father crushes him, not only by harming Percy but by exploiting Nico's trust through Nico's mother- one of the things he's most desperate for.

We see Nico's heart come off his sleeve at this point, maybe not fully, but enough to where a stranger couldn't recognize it at first glance, and in a way where he has the means to hide it from most.

Except we don't see much of this, because the series is narrated by Percy- and Nico can't hide his heart from Percy.

Almost everything Nico does, everything he tries to do, is for Percy. Nico is so desperate for contact that he is pliant, but in Percy's hands Nico actually wants that contact, he's not interested in imitations of love or substitutes- he's looking for the real thing.

And Mr. Oblivious does-Annabeth-like-me Jackson isn't in any headspace to realize that a boy might like him, let alone Nico. This concern that Nico will join Luke, isn't entirely because Percy is misreading signals, but it's definitely part of it. Nico likes Percy so much that at one point he is willing to go to Tartarus if not entirely for him, then partially for him.

If Percy had realized, and rejected Nico- maybe he would have joined Luke, or at least he definitely would have been more likely to. The perception of Nico we get in PJO from Percy is unreliable, because Percy looks at Nico through the lenses of a concerned older brother, and Percy feels guilty in some way for the situation Nico is in. This gives not only a skewed, but slightly falsified narrative of who Nico is.

The original post of mine I linked, although yes, I would like to rewrite aspects of it now it holds up in the sense that Nico is always trying to prove himself, and this is a bit different than being a puppet. Nico is so starved that it is present in everything, @/arabnico gets it right:

nico’s longing is just so raw it consumes him whole and he cannot hide it at all because it reflects in absolutely everything he does and is nico’s just the means of the way for them and he settles for being it because he doesn’t think he can be much better or even deserves to it is sometting so twisted because nico has this innate utalitarian desire to be useful and to do something and to do the right thing but in the game of things he’s reduced to that puppet in the hands of fate and deities millennia older than him that see a wounded wandering soul doomed to be forever alone by a destiny so cruel it keeps him on his knees

Nico, in PJO especially, has little control over his own narrative. His mother is killed in punishment for his father's "wrongs", Nico is forced to endure this. Bianca grows tired of caring for Nico and leaves him behind, this is not Nico's fault but Nico is forced to endure the consequences of her actions. Bianca's fate is decided on a quest Nico isn't even able to go on, he is forced to endure the results. Nico then breaks the cycle, declaring himself The Ghost King, and dethroning Minos. Nico is forced to endure Hades's manipulation only because he did not see it coming, this wasn't an aspect in which Nico didn't have his narrative (he had already taken ownership of his narrative) but a blind spot in his rational.

The place where we vary is why Nico behaves this way, we can agree that it's because he's starving for human connection- but you believe it's because he has no confidence he is willing to submit himself, while I see his submission as an act of desperation.

Personally, I think to argue that Nico is like this as a result of lack of confidence does a disservice to his narrative (obviously it's fine to view him however you wish, and I wish you all the fun in doing so!). To boil this down to starvation and lack of confidence removes some level of Nico's autonomy in his own life, but also strips him of one of his strongest characteristics- those qualities of him which are like Orpheus.

Nico willing to go to the ends of the earth for love is not a weakness but a strength, his ability to carry on beyond the point in which he needs a rest is not a weakness but a sign of strength. His ability to go to the ends of the earth to right wrongs, and to show his love:

"... Cupid struck, slapping Nico sideways into a granite pedestal. Love is no game! It is no flowery softness! It is hard work- a quest that never ends. It demands everything from you- especially the truth. Only then does it yield rewards."

Cupid is explaining Nico's idea of love in this scene, we see Jason say he prefers Piper's idea of love- but Nico only knows love in the way cupid describes, working desperately for a few moments with Bianca, working just to hear any scrap of information about his mother, always trying to prove himself to Percy- to overcome the way he feels about Percy (and boys in general).

Nico has only known love as something you walk to the ends of the Earth for, but he never stops fighting to be loved and acknowledged. Lesser men would give up and lay down, accept they are unworthy, but Nico keeps pushing to be acknowledged and accepted- to be recognized and loved without having to walk to the end of the Earth, but Nico knows he has to walk to that edge and face it before unconditional love will come to him.

To imply that Nico seeks love the way he does because he's unconfident in his ability to receive love ignores the idea that he's had his life forced into this position because of the fates. It loses acknowledgment to the strength it takes to pick yourself up and walk to the end of the Earth time and time again, because if he was unconfident then he would eventually lay down and accept he shouldn't be loved ever again.

I don't think confidence doesn't play into this at all though, it definitely has some impact on Nico, he does view himself as inherently less (he is overly self sacrificial- think Tartarus :/), and he does try to remove himself from others:

You yourself said: you blame yourself for the way people have hurt you, taken advantage of you, and abandoned you. they exploit your love and your naïveté time and time again. you tell yourself, surely, there must be something wrong with you. because—you are convinced—that people are good. “if they hurt me, it is because i am flawed. it is because i am weak. people will always hurt me—even people i love. it’s an inevitable truth for me.” (X)

And this connects to what I said: "The thing about being rejected is that the first time you argue it's the other person. And the second time you'll argue it's still them. If you're still arguing it's other people the third time, maybe but it's thin ice... But eventually you just have to accept that you're at fault."

I do think there's a reason Nico makes himself so "utilitarian", because he hasn't been handed unconditional love since Bianca. But again we disagree on the why, I see Nico's behavior in his utilitarian example of love as caring, the way more people should be in love. Too many people see love as something given without restraint, and yeah, love should be unconditional but in order for love to be unconditional you have to do the work to lay good foundation. To be utilitarian in loving is not an act of weakness, or a symbol of lack of confidence, it is a showcase of more care in love than most have to offer. We care for things, and place value on them determined by how much love and care goes into those things.

I also don't see Nico's self blaming for what happened as flawed, it's logical in his situation, and a common result of CEN. This self blame shows care and kindness, and this coincides with Nico's arcs, "If I am bad, how do I improve? If I have no choice but to be evil, how do I still be good?". Nico is always fighting not to be recognized for good or bad, but to be recognized for what he is.

Trust is not naivety either, the only reason Nico is regarded as naïve is because of the extreme circumstances of his life. People shouldn't have to expect abuse from people who are supposed to love them, people should have to accept abuse in order to receive love. If Nico's life had turned out different, his naivety wouldn't be viewed as a weakness but a strength- a kindness.

We're not actually viewing Nico all that different, there's this space where his character blurs together, and it becomes an individual duty to determine at what point a flaw becomes a strength, and a strength a flaw. Nico's stubbornness is a flaw if we're thinking about grudges, but it's a strength in his work ethic. Nico's ability to stand on his own is a strength in terms of questing, but it's a flaw when it prevents him from experiencing love in fullness.

#asks #gayleafpool #idk the ending of this is shit but idk how to close ends so hopefully you understand anyhow #also i don't want this to come off as there's a right and wrong way to view something because that's not true #i was just trying to elaborate further on why i view nico a certain way #i can definitely see why you view him how you do #i think we're both definitely projecting a bit because we're both right in a flawed wya #*way #but what is the human mind but flawed?#uhh to tag or not to tag?#i'll tag #nico di angelo #pjo #long post

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catxsnow · 4 years ago

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MOTHER DOESN’T KNOW BEST D.W.

Request: Would it be possible to request a Damian one shot abt him protecting you from Talia? Like she dosent like you at all so she tries to either kill you or manipulate you into breaking up with Damian.

Warning: Violence, angst, Talia being a b i t c h, mentions of blood.

A/N: Take two people. Never trusting mobile to post ever again. Anyways, I hope you enjoy rather than getting just the title lol

Word Count: 4.1k

Damian didn't like Gotham at first. It was cold, gross, the city was filled with those who didn't understand the greatness outside of the city walls. He hated being away from his mother and grandfather, as well as the strict rule that his father had given him. He was no prince there, he was nothing but a rich man's son.

It seemed at first that Bruce was doing everything in his power to suppress everything that Damian grew up with. No killing, no servants, even hiding him in the shadows with the assumption that his mother was going to take him back. It made Damian feel like this was never meant to be his home.

Even when moving to the Titan Tower, he still didn't feel at home. The people there were childish, irresponsible, he didn't fit in there as well. He didn't fit in anywhere until he met you.

You had joined the Teen Titans just a week after Damian had arrived. A broken upbringing with nothing but your mentors trying to get you to succeed where they never could. You had skills, too many not to put them to use. So, when Kori found you, she welcomed you with open arms - a home that would treat you right.

Much like Damian, you were cold and cut off. Maybe that was what attracted him to you, or maybe it was your skills that put him up for a challenge. Either way, Damian felt flustered around you and he hated it. Lucky for him, you were much the same way.

One long night of sparring with him - an endless battle that neither of you would admit defeat - you had finally broke him down. Damian had you pinned, and as much as he didn't want to let his guard down, he couldn't stop himself from leaning in to kiss you. He never acted like this, like a hormonal teenage boy.

Late night patrols, early morning training, as many hours throughout the day you would spend together. Your teammates - Beast Boy in particular - continuously felt left out whenever you and Damian were together. Only Dick was happy to see that the two of you were spending so much time together.

You were good for Damian. He was less harsh, more willing to accept others, hell he even said thank you more often. It wasn't like you had meant to change him - he just thrived to be a better person because of you. You were everything to him.

When years passed and it was time came for him to move back to Gotham, you had come with him. Damian wouldn't dare to leave you again. Not when he swore that he found - as many would say - his soulmate. You loved Damian, more than anyone ever had his whole life. The feeling for him was new, but he couldn't get enough of it.

It was the first time you were in Gotham. Just like the rumors, the city was horrifying. Crime was everywhere, people dying in the streets, you didn't know how Damian lived there for so long. This wasn't your home, but Damian was. Wherever he wanted to go, you were there with him.

Damian grabbed your hand from across the seat. He was you worried as you looked out the windows. Bruce's home was far nicer than anything you had seen so far, but the drive was still far enough away. You smiled as Damian kissed the back of your hand, a small gesture that made your heart flutter every time.

"You could have stayed, I would have come visit you often," Damian offered to you. A joking smile was on his face. He knew damn well that you weren't going to just stay with the Titans when he was across the country. You loved him too much to have that distance.

"Damian Wayne, if you think I'm gonna let you out of my sight you're mistaken," you half joked. Of course you trusted him with every fiber of your being, but you also knew how damn reckless he was. Bruce would have his back, but he needed a partner, not a leader. "Besides I know you don't sleep well at night."

Damian rolled his eyes. He had told you once that he slept better with you in his arms and you hadn't let him live it down since. You meant this in the best way, you loved to be the reason that Damian felt at peace. However, being in this city, you weren't sure how much peace you would have.

The gates of the Manor finally pulled into sight. You couldn't get over how massive his home was. Damian squeezed your hand as your mouth dropped in shock. You knew how rich Bruce Wayne was, but this? This was crazy. His home was larger than any home that you had ever seen.

Damian's excitement for you quickly changed. Instead of the empty drive way that he had expected, a singular person stood by the door. You watched as his nerves grew tense. It was a woman, dark skin and long hair. She stood as if she expected the world to bow at her feet.

"What's wrong?"

"My mother." You suddenly understood why he was so worried. Damian's mother was cruel, unloving, and only craved power. It had been years since she had dropped Damian off in Gotham and the same amount of time since he had seen her last. Whatever Talia was here for, it couldn't have been good.

The car barely stopped before Damian jumped out. His fists were tight at his sides as he approached his mother. Although you were sure he wished for you to stay in the car, you couldn't just wait. Talia looked less than pleased to see you stepping out of the same vehicle as her son.

Damian joined his mother's gaze. The grim look on his face softened as he saw you. As much as he didn't want you meeting his mother, he was glad that you were there to support him. Unlike usual, he didn't grab your hand, nor did you make the move to. Talia was not the kind of lady you wanted to make a bad first impression on.

It didn't seem to matter though. You hadn't said, or done anything, and she was already glaring at you. To her surprise, you only shot her the same look back. Bad impression or not, you were going to stand up for yourself. Damian would keep you safe, even if it was against his own mother.

"Who is this, Damian?" She asked. Talia acted as if you weren't even there. Damian had told you about her, but you never expected her to be this bad within the first five minutes of meeting her. Moving to Gotham, you were worried enough about meeting Bruce without his cape and cowl, you didn't think you would have to see her as well.

"This is (Y/N)," Damian told her. "A valued teammate, as well as... my beloved," he confessed while grabbing onto your hand for the first time since leaving the car. Talia's eyes narrowed at you - of course she had known everything about you. She kept eyes on Damian, and when you popped up, she learned everything there was to know.

Which meant that she already knew of your relationship. And, if you were to guess correctly, she knew of your departure to Gotham alongside her son. The whole reason she was in Gotham was to see you, or more so to analyze you. Damian should have been with royal blood, not a street scum like you.

"I want you to come home, Damian," Talia suddenly announced. While you only looked up in shock, Damian's face hardened. This was so like her - the second that he was happy and finally feeling at home she had to come in and ruin it. This time, he wouldn't allow it. She didn't control him anymore, no one did. Not even Bruce.

"No," he disagreed. His grip on your hand tightened - whether in frustration or a reminder that you were there - you weren't sure. "I am home. Gotham, the Titans, with (Y/N), this is my home now. I'm not leaving here, not now, not ever. Father is my legal guardian now, not you. You made sure of that when you left me stranded here."

"Damian you belong with me, you belong in the League," Talia's voice was tight. She was obviously trying not to take him by force, not while you were there. Damian was her son, and she would get him back by any means necessary. "Take your grandfather's place, this was what you were meant to do."

"I meant to be Robin," Damian argued. He had done great things under his new alias. So many lives saved, he had learned so much from being there. He learned from Bruce, Dick, his friends, you. He learned so much from you - he learned to love, not to fight. "I'm staying."

"I think it's time for you to go," You spoke up for the first time. If Talia's looks could kill, you would have been dead ten times over. No one ever talked back to her like that, and for someone as lowly as you? She couldn't accept it. If it wasn't for Damian stepping between the two of you, you swore that she would have made an attempt on your life right there.

Without another word, Talia left the Manor. You didn't realize how tight your grip on Damian was until he placed his other hand over yours. You loosened your hold, and as soon as his mother was out of sight, collapsed into his arms. Damian held you tight, though he wasn't sure if it was for your assurance or his.

"It's okay, my love," Damian whispered. He kissed the top of your head, your forehead, and finally your lips. "She won't be an issue for us, not while we're with my father."

"I trust you, Damian. Always."

It had been weeks since you were in Gotham. Bruce had taken you under his wing for the time being. Damian was protective of you as always, he wouldn't let you leave without him. To be honest you were happy that he was at you side. Gotham wasn't the kind of place you wanted to venture on your own.

It was different without your teammates watching you back. You only had Damian to have your six and sometimes that lead to some close calls. In the end, he always kept you safe. No matter the situation, he would protect you at all costs.

On that cold night, Damian had gone out with his father, leaving you home alone. Your wrist ached from your previous night, and although you promised that you were fine to go out, Damian insisted that you stayed in. So, with your wrist wrapped and a movie playing, you felt more relaxed than you had in weeks.

Damian left you that evening with a firm kiss and a promise that he would be back before you knew it. As always, you melted into his hold, never wanting to let him leave you. He left with promises to you of making up for it in anyway he could. Damian just wanted you happy while he was home.

He thrived every day to see you smile. Seeing you happy was the only thing that he cared about anymore. So, seeing your pout as he hopped into the Batmobile beside his father nearly convinced him to stay with you. Alfred was gone for the night which meant that you would be truly alone for the first time since you had joined the Titans. The silence would be tranquil.

Unfortunately for you, that peace didn't last long.

After training to be a hero your whole life, you could feel when someone was sneaking up on you. At first, you assumed it to be a robbery; Bruce was rich. But as Batman? His security was near impossible to get into. Whoever this was, they were good. Really good. Your phone buzzed beside you, but you didn't have the time to check what it was.

The blade of a sword sliced through the air, narrowly missing you. You had been just quick enough to roll out of the way. The intruder wore a mask covering the lower half of their face, but you had known instantly who this was. Talia Al Ghul.

You assumed she had come alone. If she saw you as nothing but a low-life hero from the streets, then she assumed that she could handle you by herself. Truth be told, you had never gone against someone as skilled as her, she could easily handle you on your own, especially with your weakened wrist.

You ran through the room and towards the kitchen. It was far closer than the entrance of the cave - and you were sure that she knew where it was as well. Talia ran after you. She ducked the second she ran into the kitchen - you had thrown the closest frying pan towards her head. Thankfully it distracted her enough to grab some sort of weapon - a knife.

It was much shorter than her sword and it felt awkward in your opposite hand. You hoped that Damian and Bruce were already on their way back, that it was him texting you earlier, but you knew not to get your hopes up. Alfred was gone for the night and you were truly alone in the house.

Talia twirled the blade around before lunging at you. She did attack after attack, each one barely being blocked by your knife. You needed to get to the cave, at least then you stood a chance with some actual weapons. Unfortunately, you weren't quick enough to block her next shot.

Talia's sword sliced through your shirt and into your arm. Blood soaked your skin as you cried out in pain. You knew that she didn't like you, but to go as far as to assassinate you within her son's home? That was pushing far past being a terrible mother.

Glass shattered as you ducked from her next shot. The lights above you sparked as she broke though them. The room had become pitch black and you only hoped to use that as an advantage. You knew this house far better than she did.

As long as you could get a head start to the cave, you would be fine. Silently, you slipped past her, hoping to avoid the crunch of broken glass on the floor. Talia was a trained assassin, sneaking around her would be impossible - and it was. The second she heard your footsteps, she had blindly attacked.

The tip of her sword nicked your cheek, but it was enough to let her know exactly where you were. Without caution anymore, you ran full speed to the entrance of the cave. Thankfully, you had made it before her.

You grabbed the first weapon you could see - Damian's backup sword. It felt heavy in your opposite hand, but as soon as you tried to hold it in your dominant, you nearly cried out in pain. Damian was right, you were too hurt to go out that night; then again maybe it would have been safer if you had. Talia must have been waiting for the opportunity that you were alone.

Talia stood before you, her mask still up. "What's wrong, Talia?" You asked, her eyes narrowed as you said her name. "Jealous that your son loves me more than you? Or maybe that Bruce cares for me more than he did you? This isn't about Damian not coming home, this is more personal than that, isn't it?"

"Damian belongs with royalty," Talia ripped off her mask. You knew that you were riling her up, but you only hoped that it would waste enough time for Damian to come, if he was coming. This was a fight you could not win alone, you knew that. "You're nothing but filth off the streets."

"So what, you're gonna kill me?" You backed away from her. Your heart rate was erratic from fear. Damian was a damn good fighter, but his mother? She was deadly. "How're you going to explain that one to him? How do you think he's going to react when he finds out that you killed the person he loves? He'll never want to see you again."

"He's never going to know it was me!" Talia raised her voice. She charged towards you, bringing her weapon down towards you. You just barely blocked it. The sword was extremely uncomfortable in your hold but you it was far better than a measly kitchen knife. She could tell you were weak from it.

Talia pushed down harder, the edge of her sword coming dangerously close to your face. In the blink of an eye, she pulled away and grabbed your weakened wrist. Talia slammed it into her knee, making you scream in agony. You dropped your weapon to grab your now broken wrist, falling right into her palm of her hands.

A forceful kick was placed against your ribs, knocking you down and making you completely at her mercy. Your body screamed in unbearable pain. Blood soaked your clothes, your bones broken or cracked. Talia had taken you down in a mere matter of minutes. You never stood a chance against someone like her.

To your surprise, Talia dropped her sword as well. There was no way that she had suddenly changed her mind or decided to give up, she had you right where she wanted you. The smirk on her face, knowing that she had defeated you so easily, was etched into your brain. Whatever she was planning, she had already won.

Talia pulled out the gun strapped to her thigh. You hadn't even noticed it until this moment. There was no way that you would ever dodge a bullet, not at this range. With a last chance of hope, you reached out for you sword once more - but she was too quick. A bullet shot rang out as it bounced off the floor inched from your hand.

You retracted back to your place, looking up at her with a grim look. There was no chance you were about to plead for you life. Talia had the gun pointed directly at your forehead. "You'll never have my son."

"Neither will you." Blood dripped down your face. You gripped onto your wrist, and tried to steady your breathing. You refused to look away from Talia's murderous eyes. Death awaited you - that was something you had to accept. Talia had no mercy.

Suddenly, a light blinded Talia's face. Her gaze was averted, but that wasn't what caused you to falter. A loud shot echoed through the cave, followed by a searing pain. In her brief moment of loss of attention, Talia had pulled the trigger. She had missed her hopeful target, instead the bullet and pierced your shoulder, creating a sickening crack as it went through bone.

"NO!" You knew this to be Damian's voice. He hovered above you, panic written all over. His hands pressed into your wounds to try and stop the bleeding. He could hear the battle of his mother and father but all that mattered was you. He was petrified for you. Your eyes wavered, wanting so desperately to fall asleep.

"You're going to be okay. I promise, stay with me. Beloved, you're gonna be fine. Stay awake, please. Please I need you. I need you to stay with me." He was the last thing you saw as darkness clouded over you.

Talia had done a lot of damage to you. The cut on your arm, and your cheek needed stitched. Your collar bone practically shattered and you would need to wear a brace for months before it was healed. The wrist she had snapped would heal like any other broken wrist would. Cracked ribs and a broken ego. You were benched for a long time to come.

Damian wouldn't leave you side. He was there if you needed anything or if you were in pain. Guilt clouded him, he should have known that his mother would do something like this. He was a fool to leave you alone like that. Never again.

"Be careful, beloved."

You liked the attention from him. Damian was at your side more than he ever was before. In private, he was constantly covering you in kisses. He showed a side of himself that you or anyone else had never seen before. It was nice to see him so... normal.

Damian spent every spare moment with you. Whether it was helping you with simple tasks that you were yet to be able to accomplish or be there to give you a kiss when you were feeling down. The last thing he wanted to see was for you to fall into a funk because of his mother. He tried his best to keep your spirits up but this was hard. Harder than anything you had done.

Years of being the one to save people and now you were the one that needed to be saved. It was unbearable. You hated the feeling of constantly needing help. Damian made sure to not suffocate you, he knew what it was like to hate feeling pitied.

Evenings were spent trying to get you back on your feet. Nights spent with Alfred, watching of your boyfriend and his father. Damian coming home to smoother you with attention the second that you were alone in his room. That was your favourite part of the days.

Everyone hoped your recovery to be speedy - even your teammates went out of their way to visit you. It was nice to see all your friends together again, as well as the rest of Damian's family that you had finally met. It seemed that everyone had gained a vendetta against Talia that night.

"Damian, I can do this, you just have to give me some space."

When you finally got the cast on your wrist off, you had gone straight back into training. Much to Damian's dismay - as well as your doctor's. The sling was still on your shoulder, and would be for several more weeks. However, you were tired of sitting around like this. You felt weak from the lack of training.

Damian watched as you stood under the pull up bar. You eyed it, curious as to if you really could do this or not. In one swift motion, you jumped up and grabbed the bar with your single hand. Holding yourself up wasn't the issue, it was a matter of if you could pull yourself up with only one hand like you used to.

With all the strength you could muster, you attempted to do a chin up. You had almost made it before your arm gave out on you. Your hand slipped from the bar and you barely landed on both feet. Damian was by your side in a second, though he could see how frustrated you were at this. He understood not being able to achieve what he wanted most.

"You don't have to prove your strength to me, beloved," Damian assured. He cupped your cheeks with both hands, pulling you in for a quick kiss. However, as the pad of this thumb swiped across the scar that his mother left he frowned. Even after all this time he still blamed himself of this.

"And you don't have to feel guilty for what happened," You countered. You placed your palm over top of his a small smile on your lips. "You came and saved me, that's what matters. Like you, Bruce, everyone, said, I'll get back to where I was eventually. Things like this happen, I can't let it stop me."

"You're too brave," Damian shook his head. Always pushing your limits, defying your odds. As much as he admired it, he wished that you wouldn't. Damian wanted you safe, and sometimes he questioned if that was ever going to be found while you were with him. However, he wasn't willing to lose you to test it. You were by his side, always.

"I learned it from you, my love."

#damian wayne #damian wayne imagine #damian wayne oneshot #damian wayne x reader #older!damian #batfam #batfam x reader #batfam imagine #dc imagine #dc one shot #dc #robin #robin imagine

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ahwait-no-yes · 4 years ago

Text

Let’s talk about if Saihara hated Ouma

So lately I’ve actually seen a bit more comments on how Saihara doesn’t actually like Ouma and people have gone as far as saying he hates him and idk why people genuinely believe it so here I am about to refute that (I’ve been waiting ages to make this post just so you know so this came out as a horribly unstructured ramble more than anything oops)

some notes beforehand:

I have an obvious bias as I do ship saiouma. although i’ll try to be neutral on what I say here, I can’t hide my bias. I have tried to include what people that hate this ship believe to counter them though, also if you ship other things that’s totally fine?? don’t think of any of this as an attack at your ship and I’m not saying Saihara loved Ouma, I’m just tired of people saying Saihara hated him.

You’re allowed to respectfully disagree as long as you don’t berate me or say I don’t know the game when the majority of the screenshots in this are from my own gameplay, lmao.

and massive whole-game spoilers! Don’t read this if you’ve not finished DRV3!

Glad to know you made it under the cut! now I can begin with where I think people got this idea that Saihara hates him from- the infamous “You’re alone Kokichi and you always will be” line.

I admit this was very cold and still breaks my fragile saiou heart, but to base Saihara’s entire perspective of Ouma on this one line he said while he wasn’t thinking straight is just.. no.. It’s unrealistic. we’ve seen how Saihara is able to adapt his views and grow (I’ll come back to this later), he’s not stubborn in this regard like Momota or even Ouma is, so even if he did mean it 100% (which I doubt because when *anybody* is angry they will say or do things they may regret had they been calmer), it’s not like his view on Ouma from chapter 4 was his final view on him. And that’s what people fail to realise.

So, how does Saihara view Ouma then?

well, I’d say he’s been interested in Ouma as a detective from the moment he met him with his curiosity piqued at Ouma’s claims of leading a secret organisation.

and he remains curious about Ouma throughout, always questioning why Ouma says certain things, what Ouma is lying for, he just wants to figure him out- and this doesn’t just apply to free time events either

I think you get my point there, now, I think if I didn’t ship saiou and read this, I’d argue these are all pre-chapter 5 and before the breaking line so he may have been curious before but not after- that then brings me to my next point

Saihara was confident- dare I say believed- in Ouma, especially after Chapter 5.

how bold of me to say ikr, but this ties in to Saihara’s ability to adapt his views. He’s sort of like a mixture of both Kaito and Ouma honestly, because naturally as a detective he has to be suspicious and think logically as Ouma does, while at the same time Kaito taught him to believe in his friends which has also helped him to advance in trials. I think he might have extended this belief to Ouma, because he trusts that Ouma is doing what he does for a reason.

In fact, I’d argue he’s the only one of the remaining group who wouldn’t readily accept pinning Ouma down as a villain. If anything, it’s the opposite- Saihara fought to clear Ouma’s name, and never stopped trying to understand whether or not his intentions were true or false

i’ll just drop this screenshot here (that i named THIS MAKES ME SO HAPPY.png in case you were wondering)

this is what I mean when I say he wouldn’t accept it as fast as the others and would second-guess it, bear in mind this is the moment Ouma “admitted” to being the mastermind. and it’s not like this doubt was sudden or anything, cause I can recall this moment (that I actually didn’t catch on to on my first playthrough)

which gives me the idea that hadn’t Ouma purposefully messed with everyone and built up his bad reputation, it would’ve been so much easier for Saihara to disprove him being the mastermind at the point he said it.

Anyway, going back to my point- excluding Kaito (cause Ouma directly told him), Saihara is the first to bring up Ouma’s innocence, and this is what I mean when I say Saihara believed in Ouma

note that I say believed in. believing Ouma and believing in Ouma are different, it’s like how loving someone and being in love with someone are two different things, so don’t argue that by saying “he didn’t trust him” because ik that and that’s not what I’m trying to say.

but he did believe that Ouma had his reasons, and he tried to discover and understand them. I mean, take this for example

he’s already on board lool look at him go, but no really look at the confidence

he’s both confident in himself and in Ouma not lying here, then goes back to being curious about his intentions

oh and let’s not forget who it was that searched Ouma’s lab to find clues to prove he is a remnant of despair. Why do you need to search for evidence for something you (and the others even more) think is irrefutably true? the answer is obvious- he was doubtful of it from the start, and needed evidence to convince himself it was true, but then as he found nothing to prove it (and even evidence against it), he had to convince the others of it too- and prove Ouma’s innocence

(the last screenshot was from Hikkie’s playthrough on Youtube)

But as you can see, he’s clearing Ouma’s name as the leader of the Remnants of Despair.

Now, I bet someone would argue that this only proves Saihara was determined to find the truth in general, because he’s mister detective, so I’ll raise you the fact that Saihara didn’t need to try figuring why Ouma does the things he does- he could leave it at just knowing the truth and if he really didn’t like Ouma like people say then there’s not much merit to it.

“So what if I know this now? I didn’t care about him, it’s pointless” he could’ve thought something like that, but no

(I also think the “you’re lying again kokichi, there’s a method to your madness” moment fits here too)

Not only this, but there’s also how Saihara learnt from him.

honestly im still kinda mindblown from this ever since I first realised it, but when you think about it, Ouma hinted to Saihara in his FTEs how to win the game.

(those 3 screenshots are from justonegamr’s kokichi’s FTE video; random fun fact this was the playthrough that i watched while first getting into drv3)

But if you think about it, Ouma tried this again in his own trial in his attempt at ending the killing game and then Saihara also used this to actually end it

Not only that (which personally i think is pretty powerful in itself), but Saihara also tries to take Ouma seriously and picks up hints he leaves and uses them later

as well as

(and generally just)

generally, Ouma will hint and then Saihara will pick it up. it’s been like that for the whole game- why should Saihara give any extra thought to what Ouma hints if he dislikes him?? really, he could’ve just ignored him the same way he did at the end of chapter 4- but again, he didn’t “”hate”” Ouma enough to keep ignoring him, he considered him a friend in the end anyway.

and the end is what I’ll talk about now, too.

first- can we just acknowledge this?

he doesn’t ignore Ouma at all here. even though he didn’t trust him, he was sad to have lost him.

Not to mention the way he thinks about lying at the end of Chapter 6. (like, please this is just- *chefs kiss*)

IMAGINE Ouma was alive to hear him say that omg but Saihara could (and probably would) extend what he says here to Ouma himself- y’know, the ‘embodiment of lies’

by thinking about lies in a different angle instead of at face value like this, he gets a more neutral view on them rather than just thinking “they’re bad!!”, why wouldn’t he be able to do the same for Ouma? especially now that he knows Ouma was innocent and actually hated the game as much as they all did. I mean hey, even after chapter 5′s trial he sort of already thinks about lies differently

and throughout this post, I’ve tried to avoid talking about his free time events or his salmon mode ending because people always say “well they’re not canon” and to that I say not canon to the plot, yes, but still canon to the characters. so yeah, I don’t disregard any of them.

from this point onwards these all technically happen before chapter 5, so it’s not entirely relevant to my point that saihara still liked ouma even after the end of chapter 4, but it’s still something that shows he liked him beforehand at least. I mainly just wanna ramble though haha

one thing I’ve always thought was interesting was how Saihara easily lashed out at Kaito in his own free time event

and Kaito is undeniably Saihara’s best friend who he holds in high regard. If Saihara having backbone means he doesn’t like someone then damn bye bye momota have a nice trip in space

in terms of ouma and saihara though

how about the fact that Saihara willingly sat there and played rock paper scissors (janken pon!) with Ouma 100 times?? bruh I got bored playing that with my brother after 8 rounds yesterday how would Saihara manage 100?? would you really have the patience for that when you don’t even like the person you’re playing with?

how about his third free time event too?

(from justonegamr’s kokichi fte video)

Saihara wanted to spend some time with Ouma, that’s- its literally written there I don’t know what you want from me the guy wanted a nice time with someone he supposedly doesnt like

what I love about this is how “reaching out” could be taken both literally and figuratively. Wanting to understand someone and trying to find a way to but them being too unwilling to trust anyone.. damn 😔👊 also shuuichi either wanted to handshake or hold hands, what else do you do when you reach for someone’s hand come on

oh yes and how about that he’s content with the refusal because it allowed him to figure out a small thing about Ouma? understanding that Ouma has a different way of being reached out to? mhm please think about that for a bit

that parallel in the salmon ending too...

he considered how it’ll be like with him after they get out and how he’ll learn about him, then ultimately decided when ouma reached out to him that he does want this, and even comments on the warmth of his hand... afhskfdlj

his blush when ouma mentions how his lies didn’t bore saihara was also a very cute moment

ooh and what about the love hotel???

there’s that one line “I know i’m meant to be Kokichi’s ideal in this fantasy but when he tells me he loves me I feel like he means the opposite” or something like that- i’d argue it’s because he’s cautious of Ouma for one but also am I getting something wrong here or is he talking about how he, Shuuichi, thinks Ouma doesn’t like him? because I see people argue this is proof saihara doesn’t like ouma but all he’s really doing is just doubting ouma loves him

well in any case

WHY would he want him to stay in a love hotel of all places if he disliked him?! I know I’m just a broken record at this point but I can’t think of anything logical for it. they didnt even need to include that line in the scene at all but they did like they could’ve easily said something to do with realising where he was instead but nah. even after the event’s over, he says to himself

doesn’t he sound disappointed by it? and the fact that he even questions if it was a dream- okay

ooh, something i’ve realised while writing this as well: it kind of seems like Saihara might not want to like him but does anyway; he quickly ‘smothered the thought’ of staying with Kokichi, didn’t want to admit that Ouma’s lies never bored him, and I also thought about how in one of Kaito’s free time events he says to himself “I shouldn’t be talking about another boy like that”- well, maybe it’s similar for how he thinks of ouma? it’s not like Saihara didn’t care for the others’ opinion on him (probably the opposite ngl if you mess up in class trials he says something along the lines of“Ah I screwed up! They probably think I’m a fraud”) and considering nobody else liked ouma (except for maybe gonta) I wouldn’t be surprised if he felt shame for liking him, thus repressing that feeling (especially around the others, there’s that part in trial 4 where he’s trying to convince kaito he isn’t siding with ouma cause he knows by doing that could damage his friendship with his bro)

I mean this is something I only thought of just now, but it could be plausible (i hope?)

One last thing- I find it incredibly funny how in chapter 2 when ouma is literally on top of saihara he doesn’t freak out or scream and everyone else in the room is also completely chill with it and unquestioning. no really they’re just standing there.. and how long was ouma even in that position for??

Now, I think that’s all. So to finish off, I’ll just say

People get the idea that saiouma is bad because some don’t realise Saihara can still like a person without idolising or putting them on a pedestal. Idk if this is gonna sound controversial or not, but I honestly do think he did exactly that to Kaito and Kaede- which doesn’t make what they have with him toxic or bad at all, I just think his view on Ouma is a lot more realistic and less clouded. Heck, if Saihara canonically liked Ouma as much as he does with the other two I don’t know if I’d ship saiouma as hard as I do (it is fun to imagine though).

If you actually read through this then.. wow? I’m surprised you got through this unstructured mess? I hope you can agree with me for some of my points at least but I’m not here to convince you or anything, this has just been on my mind for weeks now I needed to get it out somehow.

I said it at the start and i’ll say it again now too- i didn’t intend on attacking or comparing saiou to any other ships so I do apologise if I seem like it, i’m just terrible with my wording (lmk if something genuinely offended you, i’ll probably change it) but you’re free to ship whatever you like cause at the end of the day it’s just a bit of fun. that being said, I don’t want to actually argue on this so please don’t haha, i’ve contemplated just deleting this but I’ve put a lot of effort into this post even though i cant analyse for 💩

I hope you can enjoy the rest of your day!

have the kokichi gaygun as a farewell present

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arcticdementor · 4 years ago

Link

In a democracy, every vote is supposed to be equal. If about half the country supports one side and half the country supports another, you may expect major institutions to either be equally divided, or to try to stay politically neutral.

This is not what we find. If it takes a position on the hot button social issues around which our politics revolve, almost every major institution in America that is not explicitly conservative leans left. In a country where Republicans get around half the votes or something close to that in every election, why should this be the case?

This post started as an investigation into Woke Capital, one of the most important developments in the last decade or so of American politics. Although big business pressuring politicians is not new (the NFL moved the Super Bowl from Arizona over MLK day), the scope of the issues on which corporations feel the need to weigh in is certainly expanding, now including LGBT issues, abortion laws, voting rights, kneeling during the national anthem, and gun control.

…

As I started to research the topic, however, I realized there wasn’t much to explain. Asking why corporations are woke is like asking why Hispanics tend to have two arms, or why the Houston Rockets have increased their number of 3-point shots taken over the last few decades. All humans tend to have two arms, and all NBA teams shoot more 3-pointers than in the past, so focusing on one subset of the population that has the same characteristics as all others in the group misses the point.

I think one reason Woke Capital is getting so much attention is because we expect business to be more right-leaning, and corporations throwing in with the party of more taxes and regulation strikes us as odd. We are used to schools, non-profits, mainline religions, etc. taking liberal positions and feel like business should be different. But business is just being assimilated into a larger trend.

Corporations are woke, meaning left wing on social issues relative to the general population, because institutions are woke. So the question becomes why are institutions woke?

…

Through the lens of ordinal utility, in which people simply rank what they want to happen, we are about equal. I prefer Republicans to Democrats, while you have the opposite preference. But when we think in terms of cardinal utility – in layman’s terms, how bad people want something to happen – it’s no contest. You are going to be much more influential than me. Most people are relatively indifferent to politics and see it as a small part of their lives, yet a small percentage of the population takes it very seriously and makes it part of its identity. Those people will tend to punch above their weight in influence, and institutions will be more responsive to them.

Elections are a measure of ordinal preferences. As long as you care enough to vote, it doesn’t matter how much you care about the election outcome, as everyone’s voice is the same. But for everything else – who speaks up in a board meeting about whether a corporation should take a political position, who protests against a company taking a position one side or the other finds offensive, etc. – cardinal utility maters a lot. Only a small minority of the public ever bothers to try to influence a corporation, school, or non-profit to reflect certain values, whether from the inside or out.

In an evenly divided country, if one side simply cares more, it’s going to exert a disproportionate influence on all institutions, and be more likely to see its preferences enacted in the time between elections when most people aren’t paying much attention.

…

Here are two graphs that have been getting a lot of attention

What jumps out to me in these figures is not only how left leaning large institutions are, but how the same is true for most professions. Whether you are looking by institution or by individuals, there are more donations to Biden than Trump. Yet Republicans get close to half the votes! Where are the Trump supporters? What these graphs reveal is a larger story, in which more people give to liberal causes and candidates than to conservative ones, even if Americans are about equally divided in which party they support (and no, this isn’t the result of liberals being wealthier, the connections between income and ideology or party are pretty weak). Here are some graphs from late October showing Biden having more individual donors than Trump in every battleground state.

…

In the 2012 election, Obama raised $234 million from small individual contributors, compared to $80 million for Romney, while also winning among large contributors.

…

In September 2009, at the height of the Tea Party movement, conservatives held the “Taxpayer March on Washington,” which drew something like 60,000-70,000 people, leading one newspaper to call it “the largest conservative protest ever to storm the Capitol.” Since that time, the annual anti-abortion March for Life rally in Washington has drawn massive crowds, with estimates for some years ranging widely from low six figures to mid-to-high six figures. March for Life is not to be confused with “March for Our Lives,” a pro-gun control rally that activists claim saw 800,000 people turn out in 2018. All these events were dwarfed by the Women’s March in opposition to Trump, which drew by one estimate “between 3,267,134 and 5,246,670 people in the United States (our best guess is 4,157,894). That translates into 1 percent to 1.6 percent of the U.S. population of 318,900,000 people (our best guess is 1.3 percent).” Even if the two left-wing academics who did this research are letting their bias infuse their work, there is no question that protesting is generally a left-wing activity, as conservatives themselves realize.

People who engage in protesting care more about politics than people who donate money, and people who donate money care more than people who simply vote. Imagine a pyramid with voters at the bottom and full-time activists on top, and as you move up the pyramid it gets much narrower and more left-wing. Multiple strands of evidence indicate this would basically be an accurate representation of society.

Another line of evidence showing that the left simply cares more about politics comes from Noah Carl, who has put together data showing liberals are in their personal lives more intolerant of conservatives than vice versa across numerous dimensions in the US and the UK. Those on the left are more likely to block someone on social media over their views, be upset if their child marries someone from the other side, and find it hard to be friends with or date someone they disagree with politically. Here are two graphs demonstrating the general point.

…

There’s a great irony here. Conservatives tend to be more skeptical of pure democracy, and believe in individuals coming together and forming civil society organizations away from government. Yet conservatives are extremely bad at gaining or maintaining control of institutions relative to liberals. It’s not because they are poorer or the party of the working class – again, I can’t stress enough how little economics predicts people’s political preferences – but because they are the party of those who simply care less about the future of their country.

Debates over voting rights make the opposite assumption, as conservatives tend to want more restrictions on voting, and liberals fewer, with National Review explicitly arguing against a purer form of democracy. Conservatives may be right that liberals are less likely to care enough to do basic things like bring a photo ID and correctly fill out a ballot. If this is true, Republicans are the party of people who care enough to vote when doing so is made slightly more difficult but not enough to do anything else, while Democrats are the party of both the most active and least active citizens. Yet while being the “care only enough to vote” party might be adequate for winning elections, the future belongs to those at the tail end of the distribution who really want to change the world.

The discussion here makes it hard to suggest reforms for conservatives. Do you want to give government more power over corporations? None of the regulators will be on your side. Leave corporations alone? Then you leave power to Woke Capital, though it must to a certain extent be disciplined and limited by the preferences of consumers. Start your own institutions? Good luck staffing them with competent people for normal NGO or media salaries, and if you’re not careful they’ll be captured by your enemies anyway, hence Conquest’s Second Law. And the media will be there every step of the way to declare any of your attempts at taking power to be pure fascism, and brush aside any resistance to your schemes as righteous anger, up to and including rioting and acts of violence.

…

From this perspective we might want to consider this passage from Scott Alexander, who writes the following in his review of a biography of Turkish president Recep Tayyip Erdogan.

The normal course of politics is various coalitions of elites and populace, each drawing from their own power bases. A normal political party, like a normal anything else, has elite leaders, analysts, propagandists, and managers, plus populace foot soldiers. Then there's an election, and sometimes our elites get in, and sometimes your elites get in, but getting a political party that's against the elites is really hard and usually the sort of thing that gets claimed rather than accomplished, because elites naturally rise to the top of everything.

But sometimes political parties can run on an explicitly anti-elite platform. In theory this sounds good - nobody wants to be elitist. In practice, this gets really nasty quickly. Democracy is a pure numbers game, so it's hard for the elites to control - the populace can genuinely seize the reins of a democracy if it really wants. But if that happens, the government will be arrayed against every other institution in the nation. Elites naturally rise to the top of everything - media, academia, culture - so all of those institutions will hate the new government and be hated by it in turn. Since all natural organic processes favor elites, if the government wants to win, it will have to destroy everything natural and organic - for example, shut down the regular media and replace it with a government-controlled media run by its supporters.

When elites use the government to promote elite culture, this usually looks like giving grants to the most promising up-and-coming artists recommended by the art schools themselves, and having the local art critics praise their taste and acumen. When the populace uses the government to promote popular culture against elite culture, this usually looks like some hamfisted attempt to designate some kind of "official" style based on what popular stereotypes think is "real art from back in the day when art was good", which every art school and art critic attacks as clueless Philistinism. Every artist in the country will make groundbreaking exciting new art criticizing the government's poor judgment, while the government desperately looks for a few technicians willing to take their money and make, I don't know, pretty landscape paintings or big neoclassical buildings.

The important point is that elite government can govern with a light touch, because everything naturally tends towards what they want and they just need to shepherd it along. But popular/anti-elite government has a strong tendency toward dictatorship, because it won't get what it wants without crushing every normal organic process. Thus the stereotype of the "right-wing strongman", who gets busy with the crushing.

So the idea of "right-wing populism" might invoke this general concept of somebody who, because they have made themselves the champion of the populace against the elites, will probably end up incentivized to crush all the organic processes of civil society, and yoke culture and academia to the will of government in a heavy-handed manner.

To put it in a different way, to steelman the populist position, democracy does not reflect the will of the citizenry, it reflects the will of an activist class, which is not representative of the general population. Populists, in order to bring institutions more in line with what the majority of the people want, need to rely on a more centralized and heavy-handed government. The strongman is liberation from elites, who aren’t the best citizens, but those with the most desire to control people’s lives, often to enforce their idiosyncratic belief system on the rest of the public, and also a liberation from having to become like elites in order to fight them, so conservatives don’t have to give up on things like hobbies and starting families and devote their lives to activism.

#richard hanania #substack

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lovingmyselfcore · 4 years ago

Text

(and it dies) a million little times

Part 1 of 2:

For you I would ruin myself

I have to post something so I still feel like I'm accomplishing things while I write (what was going to just be the other half of this) the second part of this. And also while I wait for inspiration so strike for Protect You or Skate Into My Heart because I promise I haven't given up but I have commITMENT ISSUES LEAVE ME ALONE

ANYWAY this is for@the-love-yourself-journal (or I guess @perseusjackson-jasongrace) who is the literal queen of Jercy idc. She got me to ship them in the first place so thanks babe

Ps Percy isn't white because canon Percy isn't white fight me

It felt wrong, hiding such a secret from her. He and Annabeth had always been honest with each other, it was why they had been drawn together from the moment they met.

She was definitely the best marriage option he had seen. Despite that, despite being able to converse with each other in a way that most married couples they knew could not, there was something missing.

When he’d met the blonde-haired boy, he realized what it was.

Percy had struggled his entire life with this. This sickness. It had always been drilled into his mind that people experiencing what he was experiencing was wrong, sinful, in fact. So he never spoke of it. Never spoke of being attracted more to the boy next door than the girl. Never spoke of the fact that aside from his wedding night, years ago, he’d never had sex. He couldn’t. Not with her. Not with any her.

Laughing blue eyes, annoyingly perfect teeth.

He couldn’t tell her. At best, she’d laugh, then ignore it. At worst, she’d tell everyone, and he couldn’t imagine what would happen to him then.

A horrific death on the street, most likely, followed by a long, agonizing stay in Hell for his sins.

A small, faded scar on his upper lip from his childhood.

Percy was sitting at his desk in his office, pretending to work while actually waiting for him to appear. As always before he actually showed up, Percy’s mind ran rampant. His own brain spat insults at him, his gut twisted at what he was doing. What he was doing to Annabeth. His heart screamed at him for not being able to stop himself, from not fighting harder to go back to being in love with Annabeth, despite knowing he’d never been. His soul longed for its other half.

The way his nose would scrunch when he laughed, the laugh only Percy could draw out of him.

Percy shifted in his chair. His tie was too tight around his neck, he was going to suffocate. Maybe he should. The clock continued ticking, as it always did.

The feel of his hands, on his face, his hips, his back.

“He is here to see you, Mr. Jackson.”

“Send him in.” Voice professional, practiced, despite the lurch in his gut. His brain, his heart, his soul all screamed louder, arguing their own points. Waging their violent war within him.

As always, the sight of him quieted them all.

Percy stood, adjusting his tie, and made his way over to the man leaning against his now closed door. His throat bobbed as Percy approached.

Percy lifted a hand and traced that scar, his voice barely above total silence, “I’ve missed you.”

Jason Grace’s breath was hot on his hand. His voice matched Percy’s, “You will be my ruination.”

“You are already mine.” Then Percy lunged forward, capturing his lips.

Looks like his soul had won this one. Again.

~~~~~

Piper McLean fidgeted uncomfortably with the hem of her skirt. She’d ruined many perfectly good skirts like this. Sitting. Waiting.

“Sooner or later you’re going to completely unravel one of those.” Piper looked up and was met with gray eyes. The same gray eyes that had been staring at her all day. She’d been staring right back.

“The children’s break is short,” Piper murmured back, standing from her stool.

“Indeed,” Annabeth replied, moving forward to take Piper’s hands.

“What are we doing?” Piper’s voice was hoarse, scratchy. “We have husbands.”

“Indeed.” Was all Annabeth said again, her grip on Piper’s hands tightening.

“I love Jason,” Piper said, mostly to herself.

Annabeth’s lips pursed, “I love Percy.” She took another step forward, Piper was almost completely pressed against her teaching desk. She dropped Piper’s hands to cup her face, and Piper’s eyes fluttered closed in response. “But not like I love you.”

Piper opened her eyes, “We are going to destroy each other.”

“I would gladly destroy myself for you, moya solnishka.”

“Don’t you feel bad?” The distress in Piper’s voice forced Annabeth to pull back. Her eyes held a level of concern that made Piper’s breath catch.

“I do,” She conceded after a moment of silence, “For lying to Percy. For lying to everyone in my life. For having to hide you. For having to hide us. But I do not feel bad for loving you.” Her voice held a note of desperation, she was begging Piper to understand. “Do you?”

Piper didn’t respond for a beat too long, Annabeth pulled further away, her face flushed.

Their time was up, the laughter of the children echoed through the schoolhouse as they returned.

“I’m sorry,” Piper said.

Annabeth shook her head, “No, Piper. I’m sorry.” Her eyes were miserable, “Forgive me.”

For what? Piper tried to ask but the lump in her throat stopped her.

“I have ruined you,” Annabeth said simply. “I am forcing you to go along with my sins.” Her back was straight, her face was empty, but Piper could see how hard she was fighting to keep it that way.

Piper shook her head but Annabeth didn’t see it, she was walking out of the door already.

Oh, gods. What had she done?

~~~~~

“How was your day?” Jason asked his tone the same forced lightness it had been for months.

“It was good! Nothing out of the ordinary.” Her tone was the same.

Jason nodded from his seat at the couch, “Good. That’s very good.”

“What about you?” Piper’s hands were shaking as she laid the plates on the table.

“My day was the same,” Jason said as he slid into a chair at the table.

Piper looked at him for a long moment and came to a decision.

“Jason?” She asked, clutching her fork tightly.

“Yes?” He looked up from his plate.

“I would like to visit a friend after dinner.”

Jason nodded, “Of course. I’ll invite over one of my coworkers while you’re gone.”

As they resumed their meal, they seemed lighter than they had all evening.

~~~~~

Piper knew she couldn’t very well just appear on Annabeth’s doorstep, so after she washed the evening dishes she called her.

Her fingers were heavy as she slid the ring to dial the numbers she had long ago memorized.

Piper’s hopes were answered when Annabeth was the one to pick up the phone.

“Annabeth,” She was breathless. “I-” She remembered Jason and her voice dropped low, “I need to see you.”

Annabeth was speechless and Piper wished she could see her face, “May I see you?”

Annabeth’s voice was just as low with an edge Piper couldn’t name, “Yes. Yes. Meet me.”

She didn’t have to say where. Piper knew. The place they’d always meet at. That secret place, filled with their sin. Their secrets. Their agonized love.

Piper hurriedly stuck the phone back in its place and pulled her coat over her shoulders. She kissed Jason on the cheek and was out the front door before he could respond.

~~~~~

Jason sat, bouncing his leg until Piper had been gone for long enough. (It may not have even been long enough, it was just until he could not wait any longer.)

He raced to the phone and dialed the number engraved on his heart.

“Hello?” Percy asked. Thank god. Jason hadn’t thought of a decent excuse to give Annabeth if she’d been the one to answer.

“Can you get away tonight?” Jason asked.

Percy waited for a beat, as if in thought, before responding. “Yes, I can.”

Jason smiled, “Piper is out for the evening. You could come here.”

“I’m on my way.” Jason laughed at how quickly the words fell out of his mouth and the hurried click signifying he hung up.

~~~~~~

Annabeth trailed her lips up the column of Piper’s throat, and breathed deeply through her nose, “Is that a new perfume?” They were in their spot, a dark, shadowy corner in between two factories, hidden away from the rest of the world.

Piper dug her fingers into Annabeth’s shoulders, “Yes,” She knew what Annabeth wanted to ask, but knew she wasn’t going to put Piper in that place. “It’s for you.”

Annabeth froze and pulled an inch away from her spot on Piper’s jaw. “It smells good,” Her voice was hoarse and she resumed her ministrations along Piper’s jawline.

“Annabeth, about this morning-” Annabeth cut her off, shaking her head.

“No. It’s alright, sweetheart. You don’t need to apologize for your feelings, ever.”

“The rest of society would disagree.”

Annabeth understood her meaning and ducked her head to hide her face. “How long can we keep doing this?” Desperation.

“I don’t know,” Piper wrapped her arms around the other girl’s shoulders and pulled her flush against her.

Piper breathed deeply, feeling the warmth of Annabeth’s body, a stark contrast to the metal of the factory wall at her back. “All we can do is live in the moment.” Piper pulled Annabeth’s face away from her neck. “Damn the rest to hell.”

Annabeth nodded, “Damn the rest to hell.” Then they were kissing again.

~~~~~~~

When the doorbell rang Jason raced to answer it, feeling like an excited puppy.

Percy was leaning against one of the pillars on the porch. He was beautiful; Jason had yet to see a time where he wasn’t. Shining green eyes, so painfully alive, that black hair Jason knew he frequently fought with to make it ‘work appropriate’. The lean, toned body that Jason often found himself staring at, or thinking of.

Percy was surveying the neighborhood, the picture of unruffled aside from the tightness in his lips. When he heard Jason open the door, that tightness vanished, replaced instead by the grin that Jason had fallen in love with in the first place.

Whoa. Reel that back in. Calm down, Grace. No love here. Just a drug that always gave him the high he needed. No love. That makes it too serious. This is harmless fun. Well, not harmless.

“Jason?” Percy interrupted his spiral and Jason realized he’d been staring silently, that he hadn’t let Percy inside.

He shook his head, “Sorry.” He stepped back, opening the door wider. Percy walked in and threw himself on the couch, looking perfectly content and at home. As if what they were doing wouldn’t result in pain, physical and emotional.

He could always go back, he reminded himself. There was always an out. He was addicted to the poison that was Percy Jackson, but he could always escape.

The click of the door closing was a death sentence.

He could always get out, right?

~~~~~~~

It had been a few days since Annabeth and Piper had seen each other, the two women were teachers at the same school, yet they always seemed to miss each other. In the hallways, the break room, before and after classes, they could never catch more than fleeting glances and the swish of hair and hips around a corner. Annabeth was determined to change this.

She saw a flash of brown hair that she immediately registered as Piper, glancing at the clock to make sure she had enough time before her students were expecting her, she nearly sprinted after the other girl.

Piper was leaning against the wall when Annabeth found her, grinning. Her eyes, shards of multicolored glass Annabeth always found herself drowning in, were glittering in the harsh light. Annabeth stalked closer and Piper’s grin didn’t fade.

“Oh no,” She drawled, leaning enough to rest a hand in the curve of Annabeth’s waist, attempting to tug her forward. “You caught me.” Annabeth couldn’t resist Piper’s smile and met it with her own, the smile she only gave Piper. “What will I, this poor damsel, do?”

This was risky. This was really fucking risky. They were basically out in the open, where another teacher or staff member or even the students could easily find them.

Piper reached up and drew the pad of her finger against that crease in Annabeth’s brow and Annabeth knew she was done for. Piper smiled, this one soft and adoring, and Annabeth melted through the floor.

Annabeth gave up on trying to stay as unaffected as possible, pressing her lips to Piper’s. Piper pressed herself closer as if she was trying to mold them into one person. The soft, smooth contours of Piper against Annabeth’s sharp, hard edges of Annabeth was like some kind of poetry. It was probably a metaphor about who they were as people, blah blah blah. She didn’t have time to think about damn metaphors. Not while Piper was here, kissing her like she actually wanted this. Like she’d do anything to keep this. Annabeth knew it wasn’t true, knew Piper wouldn’t ruin her life for this. (She didn’t blame her, but it was nice to pretend sometimes)

Piper smiled into the kiss and mumbled, “This is nothing like how the fairytales normally go.” Annabeth let out a surprised laugh.

Piper pulled away, staring unflinchingly into Annabeth’s eyes, the storms she was responsible for keeping at bay. “Gods,” She turned her head and Annabeth had no idea where this was going with this. “This is better than any of those fairy tales.” Then she moved, winding her hands into Annabeth’s hair, and kissed her again.

Gods, she’d fallen for this girl. She had no idea when it had happened. Maybe 30 seconds ago, maybe the first time they’d met, three years ago. Maybe it was when Percy was on business trips, which meant that Annabeth could work without anyone to make her sleep, eat or anything ‘healthy’ and Piper would come over. Make her take breaks from her work. Listen to Annabeth rant about things she knew she didn’t understand. Annabeth had so many plans, to escape this hell town, fight for her rights, build something permanent somewhere she loves with someone she loves and be unafraid to live. She also had even more impossible dreams; to build something. Piper humored her, always listened to her, attention never wavering. It was more than Annabeth could ever ask for.

She was more than Annabeth could ever ask for.

Annabeth pulled away, telling her as much and something flashed in those kaleidoscope eyes but she didn’t respond.

“Piper?” Hazel’s voice echoed into the hallway they were in. Piper leaped off of her, hurrying to straighten herself.

Hazel rounded the corner right as Piper and Annabeth had gotten themselves together.

The woman smiled at them and looked at Piper when she spoke, “Leo needs to see you,” Piper opened her mouth but Hazel cut her off, “I have no idea why.”

"Okay, thanks," Piper said, definitely too out of breath for it to be anything but suspicious. Piper hesitated a second longer, fighting to not look back at Annabeth but finally, she walked off.

Annabeth smiled awkwardly at Hazel and the other girl grinned but it quickly turned somber, "I don't know what you're doing, Annabeth." She shook her head, "I don't want to know. But I want you to know this," She stepped forward and clasped the other girl's hands in hers. "I care about you. I care about Piper. Be careful, please." Her wide gold eyes were begging, "Be careful, Annabeth."

"I'm trying," Annabeth tried to say but it came out a choked whisper. "I'm trying."

Hazel nodded and leaned forward so they were touching foreheads. "I'm scared for you."

Annabeth wanted to reassure her, but the words got caught in her throat. They both knew Annabeth couldn't promise anything.

~~~~~

Percy was staring at Jason.

This wasn't a rare occurrence, the opposite, actually. Percy could often be found staring at Jason.

But there was something about Jason Grace under the moon and her stars that was absolutely breathtaking.

His head was tilted back, eyes closed, breathing deeply, a small smile on his lips. The starlight seemed to wrap around him, shielding him from the world, announcing him as one of them. His blonde hair was damp from their earlier shower and the moonlight danced through the silky strands. Gods, Percy thought, taking him in, he's ethereal.

He was leaning back on his hands, ankles crossed over the edge of his porch.

They were in Jason's backyard, sharing a smoke; Percy took a long drag, trying to ground himself. Piper would surely be back soon, he didn't have much longer. He needed to come back to earth and distance himself from the star that was Jason Grace.

When Jason's eyes fluttered open and he turned those crystal-blue masterpieces on him, his smile growing into something wide and soft and fond, Percy knew he was done for. Fuck coming back to earth.

Jason reached over, and plucked the cigarette from between Percy's lips, and brought it to his own. He leaned back to stare at the sky again and Percy leaned sideways until his head was pillowed in Jason's lap.

Jason kept one hand on the deck to prop himself up and ground the cigarette out, dropping it to comb his free hand through Percy's hair.

"We should leave," Percy said suddenly, breaking the peaceful silence.

Jason's hand stilled briefly. "What?"

"Leave town, together."

"Where would we go?" He didn't sound angry (thank the gods), he kept his voice soft, but Percy could hear that note of disbelief.

"Anywhere," Percy replied and Jason huffed a laugh above him.

"That's not much of a plan. Besides, we have lives here."

"You're all I need," Percy said, way too sincerely, tracing a pattern on Jason's knee with his index finger.

Jason's hand stilled again and Percy cursed himself and everything that existed to make him say that. Now I've scared him away, Percy thought bitterly and got off Jason's lap.

Jason was staring at him with a look Percy couldn't decipher, his lips parted slightly. Percy wanted to kiss him; this wasn't the time to kiss him. Keep it together.

"Perce-"

"Jason!" Piper's voice carried out the back door and wrapped around the two of them like a vice.

Jason went considerably pale and Percy stood up. "I'll see you whenever I see you?" Percy said.

Jason just nodded, still staring at him.

Percy opened the backdoor and stepped inside, saying a brief 'hello' and 'goodbye' to Piper before finally making it back to his car.

He slammed his hands on the hood and cursed, "Stupid, Jackson. That was stupid." he opened the car door with considerably more force than necessary and sat down heavily. "Fucking idiot." And now he had to go home to Annabeth and pretend nothing was wrong. Great.

~~~~~

It started with the notes. Sticky notes with slurs scrawled on them (against his race, his orientation, anything they could get a hand on), in horrible handwriting, stuck to his desk at work. Jason didn't mention any, but when he took his coat off and draped it on Percy's couch, one fell out, crumpled as if Jason had furiously shoved it in his pocket.

Percy had picked it up, saw what was written there, and knew that this wasn't a coincidence. Someone knew. Someone knew about them and wasn't very happy about it.

He'd briefly wondered if it was Annabeth, but no, she didn't seem to be angry at him or disgusted, but she had been colder lately. When the notes started appearing in places that weren't as public as his desk, Percy got more concerned.

He still hadn't talked to Jason about it; the notes and what had transpired on Jason's porch either.

They'd elevated too. Notes in his car, calling him a disgrace to his family and god. But Percy wasn't as worried as he probably should've been. After all, this person was hiding behind ink and paper, if they had something to say, they could do it to his face.

But when they started threatening him, Percy finally spoke to Jason about it.

"Have you been getting notes?" He asked.

Jason was sprawled on Percy's bed, sans shirt, arm thrown over his eyes as if shielding him from the light.

Percy himself was sprawled next to Jason, head on his chest, legs twined together.

Jason peered down at him, blinking wearily. His glasses were sitting on the side table. "What?"

"Notes," Percy said as if this explained everything. "That are calling you-" He swallowed and Jason's eyes tracked the movement.

"Yeah," Jason said finally. "I haven't been too concerned." A lie. If Percy knew Jason at all (and he did) the other boy had been worrying himself to death over this, afraid to tell anybody, panicking and overthinking alone. The thought made Percy's chest ache.

"I wasn't going to mention it," Jason said.

"Me either, but this recent one," He trailed off, already doubting if he should be worrying Jason over this. But it did technically involve him.

Percy pushed off of Jason and the other boy made a whining noise in the back of his throat. Percy grinned as Jason flushed in embarrassment.

Percy pulled the crumpled note out of his discarded jacket and read aloud to Jason, who was still on the bed, "I know all about your illicit affairs-"

"Oh, how proper."

Percy snorted, "Tell me about it." He cleared his throat, "Anyway. -with Jason Grace." Jason stiffened. They knew his name. "If you don't do what I want I will tell Annabeth and Piper all about it. And maybe more than just the two of them, too.”

“Mhmm. And we believe them?”

“I’m not sure,” Percy said tossing the note onto the nightstand and belly-flopping onto the bed next to Jason.

“If you did, you wouldn’t be here,” Jason said, practically.

“And how do you know that?”

“Because I know you.”

Percy smiled, "Yeah, I guess you do."

Jason smiled back, only for a few seconds before his face fell; Percy felt his heart jump to his throat. "What are we going to do?"

"You already have an idea," Percy said, staring at him.

"You're not going to like it."

Percy sighed, "Let's hear it."

"We can't see each other."

Percy shot to his feet. "No! I'm not letting some heathen," He pointed angrily at the note. "Bully me into staying away from the man I love."

Jason went deathly still and Percy's brain finally caught up to what just happened.

"'Man you love'?" His voice was quiet and Percy didn't know how to read that.

"Yeah," Percy whispered. "Yes."

Jason wasn't looking at him and every second that passed, Percy felt his heart chipping away.

"I-" Jason swallowed and wet his lips. "I love you." His voice was hushed as if he was scared to be heard.

Percy stared at him for a beat of bated breath before lunging at him. Jason laughed as his back collided with the mattress.

Jason held Percy's face in his hands and looked him over, drinking everything in before kissing him.

The notes could wait.

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jimmygibbsjrrr · 4 years ago

Text

I have a lot of thoughts about the Slaters

namely, I've been wonderin why the Fairfield Survivors got thrown off the boat in Death Toll

in this panel of The Sacrifice comic, Francis confirms the fates of three of the rescue vehicles:

Image ID:

A panel from The Sacrifice: Part 1. Francis is sat in the rescue vehicle from Blood Harvest, speaking to Louis. His dialogue is as follows:

"Louis, I hate to be the one to break this to ya, but we been heading to the safe zone four times now. Helicopter: crashed. Plane: crashed. Boat: kicked us out and left us to die."

/end ID

the chopper from No Mercy was confirmed crashed in Crash Course, and as for the plane from Dead Air, it was pretty easy to guess (and would have been confirmed in the cut campaign Dam It).

but the part about the boat? that's the Slaters' boat from Death Toll. this is the first time we learn this information.

so...why? what happened?

(more under the cut, ended up writing wayyyy more than I expected over these past few days and don't wanna clog people's dashes lol)

so. let's take a quick dive into the last chapter of Death Toll, to see what we can discern about the Slaters from their dialogue.

the rescue vehicle in Death Toll is a civilian boat, Saint Lidia II, owned by John and Amanda Slater, a married couple. Amanda is never heard in-game, but John's reactions to her can be heard over the radio.

the Slaters are explicitly looking for "anyone out there with firearms". John later adds that "once you get on this boat? Your job is keeping our asses alive". it appears that their motivation for saving the Survivors is selfish from the get-go.

this is undoubtedly true in Amanda's case, however, some of John's lines betray a more selfless attitude. he will berate Amanda for not "think[ing] about the little guy". he will ask, "So what, then? We leave 'em to die? I can't do that, Amanda." whilst Amanda is thinking purely of their own survival, John still feels compassionate towards his fellow survivors. despite this, he says that "I don't want our first act of kindness to be our last", acknowledging the conflict between his compassion and his self-preservation.

so. these are the Survivor's saviours in Death Toll. a conflicted married couple looking for bodyguards, offering to take the Survivors upriver to a military safe zone in exchange for protection.

as for why they get thrown off the boat...well, the easiest explanation would be Amanda.

but, stay with me here, because I think it's a little more complicated than that.

this boat? fulla tension. there's the obvious tension between the Slaters, who we've established seem to fight and disagree regularly. then there's the inevitable tension between them and the Survivors. I reckon Louis, with his generally positive and friendly attitude, wouldn't have much of a problem with them, might even attempt some friendly conversation or something. however, he's about the only one.

the comic fully establishes Bill as caring about nobody except the Fairfield Survivors - the most obvious evidence of this being the words he lives and dies by, "we look after our own". he isn't particularly interested in other people, unless they can help the group out. and he'd likely recognise the unstable and conditional nature of their rescue. while I'm sure he'd try and keep the peace, in any reasonable disagreement or fight Bill's likely to take his friends' side, and if anyone's getting thrown off the boat Bill is going with them. this goes for the whole group, to be honest; I don't think they'd want to split up at this point.

Francis hates boats, hates water, and can't swim, so (and I'm getting a little speculate-y here) would probably be in an even sourer mood than usual on the journey. being as abrasive as he is, plus this additional stress, it's fully possible he could piss off the Slaters enough to get himself (or all of them) thrown off the boat.

as for Zoey? well, I don't imagine a married couple who constantly argues is gonna sit well with her, considering her backstory. similarly to Francis, the situation they're in would make her far more stressed, making it more likely for her to lash out.

Amanda didn't want to save the Survivors in the first place, so while I think that John wouldn't throw them off the boat without reason, I reckon she could persuade him to throw them off if they 'caused trouble' - and they would get into an argument with her far easier than they would with John.

in short: yeah, I can see them getting thrown off the boat by the Slaters after some huge fight or disagreement. I think that's a reasonable interpretation of canon, and definitely an interesting concept.

...however, I do wonder if this tension would really be enough to destabilise their mutual need, after everything they went through to come together.

which is why I'm going to bring up The Last Stand!

I gotta quickly address something before this segment: yeah, I'm totally aware this campaign isn't canon. this evidence works with the fact that it exists in an 'alternate timeline'. also, I am missing a few citations for this section - if anyone can provide them I'd really appreciate it, but just a disclaimer that I currently can't prove some of the things the wiki claims members of the Last Stand Community Update Team have said. here and here are the wiki pages where I got this information. in short - the above explanation is simpler and more canon compliant, the conclusion I draw at the end of this post is backed by shakier evidence but I believe is more interesting, and you can make of all that what you will.

allegedly, members of the Last Stand Community Update Team confirmed a strongly-suspected fan theory about The Last Stand: that it branches off from Death Toll in some way, in a non-canon alternative timeline. as well as this, they allegedly confirmed that in this alternative timeline, the Survivors still end up in Newburg for Dead Air. even without the confirmation, this remains a solid fan theory, due to the constant references to Riverside and re-use of many of Death Toll's assets.

who rescues the Survivors in The Last Stand? John Slater. no Amanda - just John. despite her lack of voice actress, if she was still present John would give some indication of this at some point. it can be speculated that whatever happened to her contributed to the lack of rescue at the boathouse that forced the Survivors to take an alternative route. either way, he ends up at the lighthouse when the Survivors call for rescue, alone, and picks them up.

and then later...throws them off the boat. into Newburg.

what reason would John have to do that? without Amanda, surely he wouldn't have that push, as he wanted to rescue the Survivors for multiple reasons in the first place. without his constant arguments with Amanda, Zoey wouldn't be nearly as stressed. and between the three of them I'm sure the other Fairfield Survivors would stop Francis from pissing John off enough to get them thrown off the boat. in short, less Amanda = less tension, and no reason for the Survivors getting chucked off the boat.

...right?

I'd like to remind you that a symptom of the Infection is paranoia.

what if, in both The Last Stand and Death Toll, John and Amanda are infected by the Survivors on the way to the military safe zone? after all, the virus is confirmed to occasionally be airborne, and I doubt two civilians have completely effective, sustained protection against that. likely the only reason they hadn't already been Infected is because they got out on the water early on in the pandemic, and hadn't come into contact with anyone else since. it's unlikely that one of them is immune, and even more unlikely that they're both immune (especially considering those with XX chromosomes may be genetically less likely to be carriers). wouldn't Francis have mentioned it if their rescuers turned or were obviously Infected? yes, but it's possible that the airborne strain works slower as well, meaning that the Survivors are thrown off of the boat after the symptoms kick in but before the Slaters fully turn. even Church Guy had at least an hour from being Infected to turning, and he was bitten. Newburg isn't too far from where the Survivors are rescued in Death Toll anyway (the burning city in the background of the finale is Newburg), so the Survivors clearly didn't last long on the boat anyway. as a result, the Survivors wouldn't realise it was the Infection intensifying the Slaters' paranoia - they'd just think the Slaters were being dicks. Francis also explicitly mentions that they were "left to die", implying negativity or even hostility from the Slaters as the Survivors were being thrown off.

so yeah. that's why I think they got thrown off of the boat in Death Toll - a combination of the intense tension between the two parties, and the Slaters falling victim to Infection-induced paranoia. but an explanation minus the Infection is equally as plausible. it all depends on what you find most interesting, I suppose, and both feel like they fit pretty well into the world.

lord this is a long chunk o text. I know most fandoms prefer art and fanfic over this sorta thing, so please let me know in replies or something if you're interested in more stuff like this. also if any of this makes sense because I like to ramble.

oh and if you'd like to use any of my interpretations in fanworks like art or fic, I'd love to see it :)

#l4d #l4d2 #left 4 dead #left 4 dead 2 #jrrrambles #not gonna tag any characters #because I mention a ton #and I don't think the Slaters have tags #i spent way too much time on this </3

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hamliet · 4 years ago

Note

I remember in one of your alchemical rwby meta posts you mention that if Ruby were to have a romantic partner they'd likely be a Philosopher's Child like her, bringing up Oscar as the most likely option to match her. But I also remember you mentioning that Penny is also a Philosopher's Child? Would she also be a match with Ruby? Or is there some key difference between the dynamics?

I'm sorry if this question seems bothersome, I know you mention not being invested in any of the ships outside Renora, but as someone who likes Rosegarden and Nuts and Dolts, I've been pretty torn between both at the moment, and was just curious as to what your thoughts were.

Yes, Penny is a philosophical stone. But before I get into shipping, can I muse about how there are lots of interesting parallels between the three of them! (Nuts, Dolts, and Gardens?)

Penny’s struggle is kind of a prototype for what we know is lying ahead for both Ruby and Oscar by the end of the series: we know Salem wants to turn Ruby into a Grimm-sort of creature, and we know Ozpin is supposed to eventually consume Oscar, much like Penny is now struggling for control of herself against the virus Watts infected her with. So... I’m interested to see how this identity theme spins out (obviously, I don’t think Ruby will become a Grimm or that Oscar will be permanently Ozpin at the end).

Now onto the rough seas. pls don’t send me hate i don’t want to argue

I...

... personally don’t think Nuts and Dolts works on an alchemical and narrative level. While it’s a cute ship and I see why it has many fans, I don’t think it will happen.

Alchemically, what I said previously is:

[Ruby’s] romantic partner should be someone who is also both sun and moon, who is white where she is red, gold where she is silver, earth where she is air (she flies), mind where she is heart. Ideally they would also be a philosophical child.

Penny isn’t really marked as sun or moon, but she is both gold and silver--but she’s also red and air (she flies), like Ruby. She is also heart, not mind, as Ruby literally tells Penny “you have a heart” (which is actually a really cool twist on the robot character trope!). However, these aren’t huge issues.

What really makes me think it won’t happen in a romantic sense (it’s clearly a BroTP) is the specific textual coding and patterns they’ve used for other canon ships haven’t shown up for Ruby/Penny. I’m not saying they have everything planned out meticulously, but there’s nothing currently that sticks out to me as romance. I know Ruby’s voice actor likes the ship, but looking at the actual text... I don’t see it. I could be wrong, of course, so keep that in mind, and all the power to shippers.

In anything, the writers seem to be making some script choices that seem definitively platonic. For example, in the most recent episode, Ruby told Penny she was special because she was “our friend.” That’s pretty specific wording. You rarely have an intended romantic endgame say so definitively that they are a “friend” and if you do, you single it out (ie “my friend,”) to show that they are special and significant in a unique way. To have Ruby include Penny in a group seemed to make it pretty definitely platonic.

In contrast, let’s talk Sun, Blake, and Yang. Even if I do not think they handled Blake/Sun well, I also think they were writing themselves into a corner because the writing explicitly coded both Sun/Blake and Blake/Yang with romance. I’m not saying Black Sun should’ve happened, don’t misunderstand me! unless they’re heading for poly Blackbumbleby endgame, which, bring it RWBY What I mean when I say they didn’t handle it well is that “nvm platonic” to Blake/Sun after the explicitly romantic coding (Blake’s parents assuming Sun was a boyfriend, getting caught alone together, etc.) isn’t great writing. However, the writers were also teasing Bumbleby at the same time: Yang persuaded Blake to attend a dance, literally lost limbs for her, and confronted Blake’s abusive ex. So it is not as if they swung into a ship that had no romantic build up, because Bumbleby did have some.

My point is that if Nuts and Dolts was intended to be canon or considered a possibility, they should be teasing it with explicit romantic coding, and they’re not.

Rosegarden is more likely at this point, if for no other reason than that they are teasing Oscar as having a crush on Ruby, and while we don’t know if she feels anything at the moment, it’s fiction, not real life wherein someone may well not return your feelings. In best writing everything matters, so the most common ending to the subplot of a character having a crush, especially in a fairy tale which RWBY is, is that it’s eventually reciprocated. (Of course *looks back at Sun and Blake* really who knows?)

Beyond the text, while Nuts and Dolts is comforting, I am personally kinda ‘eh’ to it because I don’t think it’s the most narratively interesting option in terms of characters or themes (but others are welcome to disagree; my word isn’t law and this is partially taste!) Penny’s whole thing is that she accepts Ruby as she is, which is beautiful but--in fiction, especially in a war story--a better foundation for friendship than romance. Imo (but also the case in terms of our three canon ships (including Arkos) the best romances also challenge both characters to become a better version of themselves via making decisions other characters disagree with (Pyrrha leaving Jaune; Blake leaving RWY, etc). I just don’t see this between Penny and Ruby. But again, to each their own, and I could well be wrong.

#ask hamliet #rwby #shipping #i'm so close to tagging this yet am terrified #better not #rosegarden #there #that should be safe #this is 100% not intended to be hate or even in any way saying any ship is bad #just saying what i think based on the text and what i personally feel as an opinion #Anonymous

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shreddedparchment · 5 years ago

Text

Pseudo Princess Pt.20

A King’s Cottage

12/20/2019

Pairing: King!Steve x Reader Word Count: 5,881

Warnings: fluff, cute Peter Parker, smut, subtle trauma flashbacks

A/N: A lot has happened since I last posted a chapter. I lost my desire to write ever again for a bit and it was hard to come back from that. I hope you enjoy this new chapter. It was really very difficult to finish it but once I pushed through it all just came tumbling out. Thank you for being so patient with me. It means a lot to me. All of you mean so much to me and I hope that I haven’t disappointed y’all too much.

“Have you got everything?” Nat is fussing. She’s unpacked your trunks several times, checking them over again and again.

Three formal gowns, just in case. Almost ten casual gowns. Soft and free flowing like the white one you tend to favor. All of them had been newly commissioned for you. Two tiaras were put in a smaller locked chest, again, just in case.

You liked the more casual dresses. You didn’t want this time alone with Steve to be all formality and duty.

Your marriage may have begun as such, but you hope that truly, your marriage is one of love now. You want to know him the best. Knowing you the best is something you hope he wants too.

It feels as if a new chapter has begun in your life and you cannot be more grateful.

“Nat,” You sigh, watching her unpack your gowns for the fourth time.

“Should I get you more nightdresses?” She asks herself quietly.

“Nat!” You call a little louder.

She looks at you, her emerald eyes far away in thought.

“What?” She asks, finally focusing on you.

“You don’t have to worry. I have everything I need.” You promise her, but she frowns at you.

“What if something happens?”

“Let her go.” Grandmother’s stern voice cuts in from behind you, sitting by the window in one of your tea table cushioned seats. “It’s time they reconnected.”

“Yes, but…with her Majesty’s pregnancy-”

“She will be in safe hands. As you very well know. His Majesty the King is not one to cross and is more than capable of protecting his beloved wife.” The old woman argues, her gravelly voice somehow strong despite her age. “The Queen’s cottage is in King’s Peace. No one would dare disturb them there.”

Nat frowns and you know that she’s thinking about Hydra and their lack of worry with upholding rules of honor.

Hydra won’t care that the cottage is in King’s Peace. They’ll invade if they so please and if you’re honest, you’re terrified. You know that Steve is strong. He’s large and his muscles are hard, his body built out of marble…but he’s only a man. He couldn’t take on six men if they stormed the cottage.

What if it were nine men? Thirteen? He’d die trying to protect you and your child.

“Maybe-?” You begin, worry turning you blood to ice.

“Don’t you worry that pretty head of yours, my dear.” Grandmother orders, getting up and wagging her finger at you. “Take your tonic at the end of the night. Eat a hearty breakfast. If you are tired, sleep. If you are hungry, eat. And if his Majesty should give you a command, obey should it concern your safety. Your priority is that baby you’ve got growing in your belly. Are we clear?”

You consider the old woman for a long moment, weighing your life against Steve’s and you know that if you had to choose it would always be Steve. You’d save him if you could.

With the little one in your tummy however, you know that you’d run and leave him to be slaughtered if Steve ordered you to do so.

Sadly, you nod.

“Don’t worry, my dear.” Grandmother closes the space between you and gently caresses your cheek. “Nothing shall happen. You will go, spend a month with his Majesty, and be back before you know it. Back to duty and regulation.”

Well, that doesn’t sound nice at all.

You frown. Grandmother cackles.

“Farewell, my dear. Safe travels. And do yourself a favor, enjoy yourself. Not everyone can marry his Majesty Steve Rogers.” She winks at you.

“Grandmother,” You gasp, mouth dropping open at her playfully suggestive words.

She moves from the room, chuckling happily. “Come along, Lady Romanoff. His Majesty will not tarry for much longer.”

Natasha moves to grab one of your trunks. “Peter?”

“I’m coming.” Peter declares, running in and easily grabbing the two other trunks then moving with them towards the door.

“I wish I were coming with you.” Nat laments.

“You will be. Just two weeks behind.” Steve wouldn’t deprive you of Nat for too long but he is adamant on spending some alone time with you and, if you’re honest? You want it to be just the two of you as well.

“Who will dress you? Who will make your baths? Who will hold your hair up when you get sick?” She worries.

“Nat,” You begin, chuckling slightly. “I grew up in a village where I had to hunt my own food. Preparing my own bath will not kill me, nor will dressing myself. As for tending to me when I’m sick-"

“That’s what I’m there for.”

The familiar deep tone comes from the doorway and both you and Nat turn to look.

Steve stands, dressed in dark trousers, his navy tunic over his usual white linen shirt. Through his arm he has two cloaks, one deep almost blood red with silver stitching along the hem. The other a chocolate brown with gilded thread for embellishment.

What catches you off guard is the bright face that stares at you. The trimmed hair is so short. Just enough to put your hands through, golden tresses that shorter glisten in the light from your window.

His beard, rough and thick, is gone.

Without it, Steve looks years younger. Happier. Lovelier. Though you miss the gruff sight of his facial hair, this soft cheek and sharp jawline is to die for.

“There you are.” Nat says, a slow smile creeping into her face. “I’d wondered where our Steve Rogers was hiding.”

Steve pushes away from the doorframe and reaches up to stroke his chin and cheeks.

“It was time.” He says, sounding slightly ashamed.

“Long past.” Nat tells him, not chastising but stern.

“Yes.” Steve agrees, then with a shyness you’re unfamiliar with, he peeks at you from behind those impossibly long blonde lashes.

Cheeks flushed; he smiles softly.

“Perhaps my love doesn’t like it?” He checks, concern crinkling his brow.

You realize that you’ve been standing with your mouth agape, overwhelmed by your husband’s beauty.

Shutting it, you feel your own neck burn.

“Like it?” You sputter. “I love it, Steve. You look…I can see your face.”

Finally, you smile. Steve does too.

~~~~~~~~~~

The next twenty-four hours are rough. For you especially.

You wish that your voyage had been one of ease and comfort. Steve had been hoping for a lovely trip and you’d wanted it to be perfect too, but the entire first day of your journey was lengthened by your constant need to stop.

This trip, the rocking carriage, the bumps and the trembling wooden wheels do not agree with your pregnant state.

Your early morning sickness had improved as of late but something about the swaying and jostling seems to have disagreed with your poor little one. Nothing has been quite so terrible as grabbing your skirts and hoisting them back out of your way as you haphazardly tumble from the carriage to puke into the nearest bush.

True to his word however, Steve has rushed after you, making small declarations of, “Watch your step, my flower.” and “Y/N, wait. Hold my hand as you alight.” and “Does that feel good? When I rub your back?” and “I’m sorry, my petal. I didn’t think about how the journey would make you feel.”

As you straighten, you assure him that you’re fine. You half force a smile, he hands you a water flask, and you clean your mouth as best you can.

“You don’t have to pretend to be fine. You can be comfortable with me, Y/N.” He shifts on his feet, stepping closer by inches and it makes his newly cropped hair bounce a little. It falls forward onto his forehead where it twitches in the late winter breeze.

It’s brisk and normally you’d be shivering, but your thick linen dress and the red cloak that Steve had bought for you keep you mostly warm. You’ll need a thicker cloak soon if the weather gets worse.

With a tentative hand, you reach up to push the strands away from his face and he freezes. Visibly, he’s immobile and it takes every ounce of strength you have left to keep from laughing as he cheeks are painted crimson.

His blush is pleasing and it fills you with pride that you really do seem to have this effect on him.

Instead of laughing you smile wryly, your cheeks aching from the urge to chuckle.

“I wish I could.” You admit, exhaling forlornly while maintaining your now slightly sad smile. “But it will take some time. You were very compelling in your hatred for me. Your sudden kindness has me quite thrown.”

Steve’s face saddens, but you don’t feel bad about his expression. This is the new beginning for both of you, but it doesn’t wipe away what happened before. These are the facts of your marriage and pretending they didn’t happen would be unwise.

“I never really hated you.” Steve says. “Not really. I hated that I had no choice.”

You nod slowly, seeing it all from his side of things and knowing now with how important his people are to him that he must have seen this marriage as unavoidable. An intrusion to his mourning.

There was never an option.

It was marry you or relinquish the Kingdom and for Steve there was only one choice.

Resting your hand against his cheek, you nod for him. You hear him. You want him to know that.

“I know. But it’ll take time. I can’t just pretend it never happened.” You explain.

“I guess that’s reasonable.” He grumbles, then gets distracted and places his hands on your stomach flipping his hands underneath your cloak to feel you over your dress. “Are you well enough to get moving again? We still have a half day’s journey to go.”

The way he cups your teeny barely formed bump makes your heart erupt into flutters. He places his other hand on your lower back and slowly strokes the aching muscle.

“Should we just turn back and go home?” He wonders.

“No!” You answer, a bit too quickly. “No. I want to go. I just need a minute.”

“Have an hour.” Steve quickly offers, moving a little closer so that your left side is pressed against his chest.

This time you don’t try and stop yourself. You laugh.

“I don’t need an hour. Just a few moments will suffice.” You assure him.

“I wish I could take the sickness from you.” He frets.

A sudden thought occurs to you and because you have no damn filter, you speak it before you can stop yourself.

“Margaret didn’t have sickness in her first few months with child?”

There’s a very thick pause and though it feels as if it lasts hours, it really is just a moment.

“Now that I think about it, she did wake up a few mornings feeling ill. We attributed it to rotten food or an outbreak of the sweating sickness. It passed after a few weeks so we…didn’t think…” He trails off, thinking back, his mind trapped in the past.

“I’m sorry.” You bite your lip hard, regretting your train of thought. You avert your eyes, down to his chest to avoid the look of sorrow you know you’ll find in those sea storm blues. “I shouldn’t have brought it up.”

Heat lines your jaw as Steve reaches up to cup the side of your face and with his thumb he smooths your lip, preventing you from biting it any longer.

“It was a fair question. I would want to know too. We should have picked up on the signs, but we weren’t trying to start a family although the Kingdom and the council expected it. Because of what we did-”

“Fighting the evils? Like Hydra?”

“Yes. Because of that, we didn’t want to start a family right away which wasn’t normal for my position especially. It was a surprise when I found out that she was carrying what would have been our first child.” The yearning in his voice is heartbreaking.

You aren’t jealous in this moment, but truly sorry. Margaret and Steve seemed to have really loved each other. To have had a child coming and lost it…

Reaching down you curl your hand around your own little swell but find Steve’s hand still pressed to it, his hand a bit firmer but just as careful as before.

“I’m so grateful to you for telling me. For showing me that I could live again. For letting me love you and our future heir.” Steve gushes so suddenly that your heart flips and dips, making you gasp in surprise. “I won’t make the same mistakes. I will cherish every moment we have together.”

“Steve…” You whisper, overcome with awe in how he can make you melt so easily.

Without warning, he dips his head and presses his lips to yours.

It’s a soft kiss, wanting but gentle. Your knees buckle and he catches you, wrapping his arm around your waist.

He chuckles, soft bubbles of air through your kiss. When he pulls back, he’s still chuckling.

There’s beauty in the way he smiles. The happiness in his face. The love in his eyes. It’s gorgeous but not in the way that attracts a person to another. His bliss is pure and radiant, and it fills you with hope.

You feel lucky to love him, but even if you could only see this happiness from the outside, you would be just as pleased. How amazing that you get to be one of the reasons he smiles like this.

“We should get going, your Majesties. This part of the Kingdom gets cold very fast and with night upon is, it will be too cold to stop again.” Peter looks down at the pair of you from the front of the carriage where he sits beside the coachman.

“Don’t you think you’re taking your duties a little too seriously? I’m here after all.” Steve rants, turning to look up at Peter with a look of tempered annoyance.

Peter smiles. “You told me to protect the Queen. I will do as commanded. Hurry up, please.”

Your turn to chuckle. “Do all of your friends talk to you like that?”

Steve sighs. “Just the ones that know me too well. He is right though. It will get very cold soon. Come. Will you be okay?”

“I think the worst is over.” You nod. “I’m ready.”

“Don’t worry, my blossom. I’ll keep you warm.” He whispers then helps you back in as the wind whistles and thrashes the moss green forest around you.

~~~~~~~~~~

Frost bites at your nose, the winter air like pinpricks against the exposed skin of your neck and cheeks.

“Here, bundle up.” Steve says, rushing to pull your cloak’s hood over your head.

In awe you stare at the so-called cottage before you, speckled with random dashes of quick melting snow.

“Steve…” You whisper, and he chuckles, leaning down to bury his nose against your temple.

“I love the way you say my name.” He whispers huskily, body shifting around yours and providing you with more of that delicious heat that you’d cuddled up against in the carriage for the length of your journey.

“I thought you said we were going to spend some time at your cottage?” You gasp.

Steve pulls back, sliding his hand along your forearm until he slips it into your hand and gently gives it a squeeze.

“We are. This was my mother’s favorite place. Empire Cottage. We spent every winter of my youth here.” Steve explains and pulls you forward. “Would you like a tour?”

He seems so happy that you don’t have the heart to tell him how much this is not a cottage. This is a castle. A small one, only about fifteen or so bedrooms probably but it still has towers—two of them with dark slate pointed roofs and parapets—and it still probably has two large halls for feasts and balls. There are extensive gardens lining the gravel drive up towards an arched stone canopy before the front doors for boarding carriages in the rain.

If the pale gray color is anything to go by, it’s a new addition. The rest of the stonework of the cottage is dark and weathered. Aged. This place has stood for many years.

“When our Kingdom was in its infancy, this was our castle. There are a few villages still standing a few hours’ ride out and you’ll find the ruins of the ones that gave up and chose to move closer to the new one. That one has only been around for-”

“Two hundred years?” You offer, freshly versed in the histories of Broklin.

“Yes.” Steve nods, shining with smiles for you before he pulls you along the curving drive.

You glance behind you, watching Peter and the coachman disappear into what must be a stable.

As the rocks crunch beneath your feet, Steve releases your hand in order to jog towards the small slope on either side of the drive where soft green grass grows peppered with bunches of what you recognize as freesias. Pale blue to contrast against the dark and light grays of the cottage behind them.

“My mother planted these. All of them. By hand.” Steve brags, and you can’t help but smile at his childlike excitement.

It feels almost out of place what with him and his big body and the brooding man you’d come to know, love, and fear.

Those storm blue eyes however are three shades lighter as they gleam with wistful but pleasant memories.

“They’re beautiful, Steve.” You move towards him and he holds out his hand for you.

Taking it, you let him lead you forward away from the trembling blossoms.

“I think it’ll probably snow tonight. One last freeze before Spring comes.” Steve tells you, just chit chat.

It’s so out of the norm, you’re not sure how to respond. So, you nod. “Mm.”

“Bucky jumped off of that boulder.” He tells you, pointing across the circular lawn between the curving drive. “Broke his ankle.”

He laughs just once, then looks at you just as you shiver.

“Oh, you’re cold.” He fusses. “Let’s get you inside.”

“No, I’m okay. Show me more.” You argue.

“We can see more later.” He insists and gives you no room to resist as he tucks your arm underneath his and walks you towards the front doors.

Inside you find dark, rich, very well-kept wooden walls and tan stone floors. Your eyes scan the vaulted ceilings, rafters exposed as he leads you through the cottage, up a set of pale wooden stairs lined with braziers along the stone walls that shift back into chocolate wood as the two of you reach the second-floor landing.

There are small coves in which the braziers sit and long, colorful tapestries adorn the spaces on the left and right.

The same insignia from your necklace stitched at the center.

Absentmindedly, you reach up to trace the shape.

Now that you see it so large…it looks like a shield. And really familiar…

“We’re here at the end.” Steve points, showing you the way.

“We are?” You wonder stupidly, still lost in the beautifully aged castle around you. It feels darker and drafty compared to home, but this place is cozy.

You’re beginning to understand why Kings of past have called this a cottage compared to the massive halls you’d left yesterday morning.

Steve stops, turning to look at you as the two of you reach a set of pale wooden doors. Made of driftwood?

You reach for it, fingers eager to feel the silken grain.

“Would you prefer to sleep by yourself?” He asks, and it’s the hurt…the disappointment that makes you look at him.

Despite the emotion you’re sure you just heard, he smiles, soft and kind. A smidge of tightness around his eyes is all that keeps the façade from ringing true.

“No.” You hurry to tell him, grabbing onto his hand more tightly. “No, of course not. I want you with me. I’m sorry, I just…for a moment I didn’t understand what you meant.”

The tension fades from his body.

You relax too. He slides his hand out of yours and you feel the gentle graze of his fingertips as he wraps his left arm around you, trailing that strange slightly warmer than normal heat down along the length of your spine to the small of your back.

He lays his hand flat, stealing your breath as it curves to your body and then he reaches for the handle of the door and pushes it open, still staring at you smiling as if you are the only thing in the world he can see.

For a moment, he’s all that matters. You’re not sure what has shifted between the two of you.

Yes, you’re pregnant. Yes, he knows that now and it’s why he was fussing over you the entire way here. Yes, he’s trying to make amends. Especially after the ridiculousness that happened with Sharon.

Your blood still boils when you think about it and the way she seemed not to care when you’d confronted her.

All of this, you know. What you most definitely know is that something has changed. Something large and permanent. You feel it in your bones as it carves Steve’s name within them and splinters you with his own altered bones.

Steve Rogers is different. You are different. Finally, as Steve leads you over the threshold into a large bedroom decorated in pale blue luxurious silks, linen, carpets, dark pine trunks, a vanity, a table large enough for four people to eat, and a roaring fire already filling the space with heat—finally, your marriage can start.

~~~~~~~~~~

“I’m sorry.” Steve sighs, hovering over you with his hands on the arms of your armchair.

He’s got his weight completely settled there where he’s holding your seat, looking down into your sleepy eyes as you blink them awake slowly and set aside the shirt you’d been working on.

It’s a normal shirt, one of Steve’s, dark red. You’ve been working in a pattern of dark blue and real silver threads. Expensive but pretty. Even with a tunic on, with the pattern worked only into the wrist and neckline, it will be visible and dress up any old tunic he chooses to wear with it.

“Don’t be.” You smile at him, trying to clear the fog of sleep from your mind.

“I am.” Steve insists. “This is supposed to be our time alone together and I’ve spent the first three days in council.”

“Hydra is attacking our people, Steve. I don’t begrudge you your duties. I only wish I could help more instead of sitting here stitching. Are you sure there’s nothing that I can do?” You reach up and stifle a yawn, Steve’s eyes sparkle with delight—at what you just said? He has the strangest reactions to some of the things you say.

At times you’re only making an observation or speaking your mind and more often than not, he pulls you to him and kisses you. Lately, those kisses have gotten slow, languid, like molten iron flowing slow and hot.

He does it this time too.

He hooks his hand behind your neck and draws your lips to his. With a slightly opened mouth, he takes your bottom lip between his and pulls a little before kissing you again, driving your sleep away.

With your mind in a flurry, he pulls back to look at your face, lips still puckered after his are gone.

He chuckles, just a quick bubble of air expelled as he brings his hand forward to stroke your cheek.

“What was that for?” You wonder, finally finding your voice through the swoon.

“For being my Queen.” He explains. “Because you deserve to be.”

“Even if I’m not high-born?” You whisper so that only he might hear. Just in case there are listening ears.

“Especially because you are not high-born.” He promises and places his hand back onto the seat.

You smile, at ease, and finally comfortable with him.

Over the past three days, Steve has spent a total of a few hours in your company.

He’s gone before you wake—"I’ve got to go. Sam and Bucky have come to deliver more news on the attacks to our smaller villages.” He kisses you slow but pulls away before you have chance to wrap your arm around his shoulder and he slides away as your hand slides along his arm until he’s out of reach—and he’s in bed long after you’ve gone to sleep.

He curls up behind you, warming you up with his heat, nuzzling into the back of your neck, wrapping you up so tight that you groan in slight protest because you can’t breathe but he’s only giving you a long squeeze.

When he releases you, you turn to look blink at him still asleep. He kisses your lips and you pucker your own but fall asleep before you’ve finished.

Despite this short time that you spend with him, things feel settled. This is who the two of you are. Both searching for a connection and finally having found it.

Slowly, he squats down hands still holding your chair as you adjust to look down at his beautiful blue eyes.

He opens his mouth to speak but the wind outside suddenly whistles. It seeps through the cracks in the old stone walls and the blaze set to warm the room crackles loudly, the cold wind finding a way to force it to dance.

You look behind you, staring at the window as a sudden fall of white begins.

“It’s snowing?” You gasp, slightly excited.

“Looks like it.” Steve says, then stands and moves to the window. “The ground will be covered by nightfall. It will be impossible to go anywhere in the morning.”

“Bucky and Sam?” You gasp, worried for their safety. “Are they staying?”

“They already left, my petal. Don’t worry.” Steve assures you and throws you a smile. “It’s just us now.”

“And Peter.” You remind him.

“Peter is in the small manor behind the castle, along with almost all of the staff.” He moves towards you, slow deliberate steps. His boots echo with a gentle tap until he stops before you. “We’re finally alone, my flower.”

Your heart seizes up, nervous flutters fill your tummy. You’re wrapped up in a thick woolen shawl, settled over the long and relaxed gray dress you’d chosen to wear while you lounge indoors. It sits off your shoulders in a pattern of dark gray lace.

Steve offers you his hand and you wonder if you’re ready. If this time will be the right time. You’re eager. But you’re scared. Everything that’s happened before rings fresh in your mind as you take his hand and he pulls you to your feet.

Letting you go, he slips his hands underneath your shawl, his calloused fingers stroking the soft skin of your shoulders as he pushes the shawl away and it falls onto the seat you’d just been sitting on.

You can’t breathe. You’re so nervous it’s like your wedding night all over again.

Fear begins to grow as you remember the pleading. The begging. The pain.

“Steve…?” You whisper, looking up to find him watching you carefully.

He suddenly dips down, wrapping his arms around your waist and pulling you flush against his chest. While you wrap your arms around his neck timidly, he lifts you easily, your feet dangling as he carries you towards the end of the bed.

“I have so much to make up for.” He tells you, his voice pained, hurt. As if it physical ails him to remember what you’re remembering too.

“Steve…” You lament with him, trying to move past the rough images that fill your mind.

“Forgive me, my sweet. My love.” He grieves.

“Steve…” Is all you seem to be able to say.

He puts you down on the bed and before you can catch your breath, he’s kissing you again. With his knee on the edge, his hand holding the back of your head to keep your kiss pressed, he slides his hand down along your leg until he can flip his hand underneath your long skirts.

As his skin grazes your ankle, you gasp and pull out of the kiss to watch him.

“Do you trust me?” He asks, his hand now locked around your ankle.

Every other part of him but the rise and fall of his shoulders as he breathes deep and labored, freezes. He is a statue, waiting for your word.

But you have no voice.

You nod.

He comes rushing back up to meet your lips, collapsing on top of you, the full force of his body pressing you into the mattress as he lays you back. His tongue slides along your lips and you open for him as he explores the taste of your raspberry flavored lips.

Kissing him is easy. You love this. But as his body presses into yours, crushing you against the soft bed, a panic begins to grow in your chest.

It’s a fledgling of a feeling, and suddenly, his body is gone. You gasp as he releases you, searching for him in a frenzy to keep him in view.

But you don’t see him. You expected him to stand up, remove his shirt to expose for you the perfection of his body.

Instead you see the fabric of your skirts rise and then fall again.

Pushing yourself up, you rest on your elbows to get a good look and finally feel Steve’s hands find your legs again.

You can’t see him, hidden as he is beneath your dress, but his hands pull your legs wider and you don’t have the strength to resist. You don’t want to resist.

You’re scared…but you trust him.

He pulls off your shoes and the clatter against the floor. His lips are pressed to the inside of your right ankle, the tip of his tongue trails up along your calf then back down to press another kiss. He repeats this move on your left leg and you try not to hyperventilate.

You don’t want to faint now.

He takes his time, repeats the same movements until your skin is pimpled and your heart begins to slow.

Placing his hands flat against the sides of your knees, he traces them up along your thighs, the rough skin of his hands renewing the stutter in your heart.

Heat puddles between your legs and you’re suddenly very embarrassed.

You try to shut them but he’s right there, already kissing the inside of your thighs. He nips at them, biting down on the soft fleshy bits before kissing and licking at the offended skin.

You’re gushing, too nervous to realize that you’re actually enjoying yourself. His touch feels good. Better than good.

It feels just as you’d wished it had from the beginning.

He pushes your legs apart further, grabbing behind your knees to push them up and over his shoulders.

“Steve…” You whimper, voice high and wheezing.

Hot air floods against your bare cunt as he breathes on you, “Hhhaaaaaaaaa….” It’s an audible breath, muffled only by the layers of fabric still keeping him from view.

He presses his nose to your clit, and instinctively you reach down to place your hands on the bulge that is his head. You don’t push but instinct is telling you to. This is embarrassing.

He’s smelling you. He’ll know your scent…What you smell like in your most intimate of places.

A sudden and very slow flick of tongue spreads your folds and you whimper with shock.

Falling onto you back, you find a spot on the pale blue canopy of your bed to stare at.

“You’re gushing, my sweet…” Steve tells you, and you try to close your legs again but he’s already there and he dives in.

The sound is lurid, a soft slur and squelch as he opens his mouth and suckles on as much of your pussy as he can. His tongue explores your insides, finding your entrance to tickle and savor.

You moan, toes curling against his back as he scoots closer and hooks his hands around your hips.

As he finds your clit and laps at it with a passionate almost hungry fervor, you reach down to pull your skirts up over his head.

You want to see him. This is everything you’ve wanted. Maybe not specifically this, but Steve with you…enjoying your body.

His blonde hair peeks out first but as your skirts fall away to expose his half-hidden face, he looks at you and meets your gaze.

His eyes are dark, blown out from lust as he becomes more aggressive and latches to your clit to suck.

Your hips quake, stuttering as the pleasure begins to press along your cunt.

He breaks away, catching his breath but hurries up to rest over your body once more and kiss you soft.

You can taste yourself on his lips and tongue as he explores the hollow of your open mouth.

“You taste like sugar, my sweet.” He whispers, voice deep and husky.

“Steve…” You moan, and he slides back down to spread your folds with two fingers before tasting you again.

He settles over your clit, tongue flicking at the nub with want and speed. He suckles on it, pressing his tongue flat against the bud.

You whimper more loudly as the pressure catches you by surprise.

“Steve!” You moan, shocked by the rush of it.

“Mmmph.” He moans, shaking his head almost violently. Running his tongue fast against your clit.

It pushes you over and your body is suddenly floating. It’s unreal. It doesn’t exist for this one moment in time.

A wave of numbness flows from your cunt down into your legs, to your toes and feet where they go limp against Steve’s back.

Your hands, curled into his hair, go slack as your body melts into the mattress.

Steve is still there, licking and nipping at your cunt, making you twitch.

You’re wrapped up in bliss and you don’t know which way is up or down, only that Steve is still there, making you want more.

Your hands tighten once more as the moments pass and you try to tug his head up from between your legs.

“Steve…oh, Steve…” You sigh, satisfied and happy. “Kiss me…”

He smiles at you, eyes curling at the corners with the brightness of his own happiness, but he shakes his head.

“Why?” You ask, as he laps at you some more.

When he stops, you can see his chin drizzled with your slick. He licks his lips and a fresh wave of arousal floods between your legs.

“One down.” He says, then hooks his hand into the fold of your thighs and hips to pull you down towards the edge of the bed again. “One-hundred and eighty-one to go.”

“Wha-?” You begin to ask, confused by the number, but then he’s back on your cunt, his tongue working its magic and setting your skin on fire.

#king!steve x reader #king!steve x reader fanfiction #king!steve x you #medieval au #arranged marriage au #marvel fanfiction #steve rogers x reader #captain america x reader #pseudo princess #pseudo princess pt20

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throughscreendoors · 4 years ago

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i may destroy you 2.4

I’ve just been reminded of how great things can be. Was watching some Fran Lebowitz interviews on YouTube and she was commenting about how little great art there is, and how expecting masterpieces from artists is insane. If an artist creates one masterpiece, that’s an exceptional achievement—and many artists get worse over time, not better. Also many artists and writers never make a single masterpiece, let alone a single good or great thing. By extending her thinking there’s very little great anything, which is harsh but true—but I May Destroy You was great.

America teaches us to measure ourselves by what we consume. The high schooler who likes the obscure band tells everyone about it until it isn’t obscure anymore, and he has to find another one to brandish. Digital media disrupted that, because there’s no consensus or mainstream taste to snipe at from the fringes.

Algorithms have deconstructed the taste pyramid into a horizontally organized structure of some kind. We’re all ensconced in our own permeable bubbles, sure, but we don’t really make those bubbles anymore. Spotify or Netflix suggests things to us based on limited data points, we select those things and think we’ve chosen them. I thought for a while that irony died in the early 2000s, but it actually just got sharper; now you can ironically and unironically like obscure and popular art at once from a kind of superposition. Carly Rae Jepsen comes to mind here—she’s simultaneously recognizable pop icon and marginalized indie darling, authentic new voice and post-ironic pastiche.

There is no irony or sincerity anymore. They’ve welded together in an atom-wide scalpel that slices everything all the time in our words and preferences and values, so subtle we don’t even feel it. We recombine before we slide apart into a pile of flesh cubes.

That flattening of tastes has meant every created thing—whether widely recognizable or obscure—must fit into some algorithmically imagined category (or be made to fit one). Perhaps subconsciously fighting that trend, endless new meme formats have risen in response (a kind of organic algorithm, perhaps). A VSCO girl wears these shoes and takes photos from these angles; this is the lonely divorced dad starter pack; here is stock market boyfriend explaining GME and AMC to his astrology girlfriend using images created on 4chan for incels.

As algorithms slice us more and more precisely into bits and we reassemble those bits more and more astutely into formats we can understand, something strange is happening. New categories and dominant values are springing up that seem unassailable, protected by these two alternating currents—particularly around the messiest subjects. People who overcome trauma are heroes; the world can be divided into abusers and victims, oppressors and the oppressed. Implicit is that nobody really disagrees with these statements anymore, they just wield them as truths for different ends. The positions can be inverted, in other words, but those are the positions.

Part of what makes I May Destroy You so great is that it tears those unassailable categories down. On trauma and sexual assault, those in-the-know understand that trauma constitutes a reorganization of the brain. Memories can disappear and suddenly reappear. Our emotions can fluctuate wildly. People can pursue dangerous situations they wouldn’t otherwise; they can reverse on things they knew to be true for years instantaneously.

On the other side are people who don’t understand or refuse to learn these facts, people who trot out the same debunked arguments (why wouldn’t you report right away..., how is it you now conveniently remember..., why did you go along with it for so long..., etc). The beauty of the show is it uses that idea of the unassailable category against the viewer, in case they are skeptical. We follow Arabella’s consciousness; it behaves like it behaves. It’s our job to follow its oscillations and make sense of it.

By taking that simple stance, the show paints every character as both hero and villain, victim and abuser. It is nearly overwhelming how interconnected and interdependent everything in the show is—swallowing it all threatens to destroy the characters, as it does our own minds. It’s not a coincidence that the bar where much of the worst that happens in the show is called Ego Death.

There’s a new-age positivity that has seeped into the culture lately that we can heal from anything, we can infinitely grow and expand beautifully into ourselves and into the future. The show skewers that point astutely. In truth, you don’t heal from trauma—it’s a rupture in our consciousness, in the very structure we use to interface with reality. We don’t “heal” from these things, we die to the old version of ourselves. We reach forward and backward at the same time, experiencing joy and agony at once as we’re sliced into millions of pieces and recombined into a new structure. As we scan over that inner structure in our minds, we’re liable to come across pieces that don’t belong next to one another. That’s what we mean by “processing” something, be it a memory or ourselves. We may cry and laugh in the same breath.

It’s a real challenge to use art to deconstruct the entire cultural moment, while also offering a deep and rich representation of inner and outer worlds that aren’t seen very often on TV. It reminds me of the horror in the futuristic surrealism of Random Acts of Flyness, but more optimistic. It’s more generous in spirit than that, and it reaches into dangerous areas. The conclusion of the show threatens to infuriate the primary fan base the show is made for (in one of the truest artistic risks I’ve seen on television in some time). It has nuanced takes on feminism, veganism, consumerism, social media, consent, race and modern alienation, and it does it all in consistently experimental way with an amazing soundtrack and a huge heart.

It’s interesting to watch a British show as an American with all this in mind, as I think the majority of Americans don’t leave that phase of consumption. It’s tempting to hail a show like I May Destroy You as a way to call attention to yourself; it’s challenging, nuanced, empathetic and so on (and because I like it, I must also be those things, etc). I think watching the show is more of a wake-up call than that, and it feels false to use it that way.

Artists have such a privileged place in society. They are the most interesting and the most inspiring, and now everyone wants to be one. But there’s a difference between being creative and being a good artist. I don’t think being a good artist is an intrinsic thing in the way racists allege that race is intrinsic. Still, I do think good art has to come from some kind of novel experience of the world—and even that isn’t enough. It must be matched with virtuosity of some kind. Possessing both of those qualities is exceptionally rare.

Michaela Coel made something that feels entirely for her with this, and it’s incredible that she managed to. The pressure to give in to outside influence, to make things more digestible, to accept money for a lack of control is nearly overwhelming in my own experience; I assume it must be for others as well. I think maybe this is another mark of real artistry—when your desire to say something so outweighs the social pressure to stop you from saying it (obviously, this isn’t the only mark, just one of them).

What inspired me most about this is it’s a show that makes good on its promise. It makes you think about the darkest, most shameful parts of yourself that you would least like to share with the world and challenges you to start sharing them. It encourages the kind of self-examination that truly might destroy you—even if you’re not a victim of sexual assault. It’s a terrifying feeling, but the grace note of it all is that "you” are always being destroyed by outside forces, and you are also always recombining. What “you” means always contains its opposite, it seems to argue, and for that reason, we ought to be dangerously kind.

#I may destroy you #michaela coel #artists #tv review #artistry #fran lebowitz

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linkspooky · 4 years ago

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Your analysis are interesting but feel overly bias since many aspects of the story you forgo despite them being influencers. In the case of the villains, so much of what makes them redeemable to the audience is seperate from their interactions with the heroes, the heroes only get to see violent killers and mass murderers who they have to stop and protect people. They are a immediate threat, so their not going to pull out the therapy chairs mid battle and that is not a flaw.

You phrase things like Shigaraki is only responding to violence against him which is false because through most of the story he was the one initiating attacks on the heroes (USJ, Hosu, Forest training) it's only after Kamino but by this stage he's already established himself as a dangerous threat to children and society - post Kamino it was mostly other villains but the reason Heroes attack his experiment is in response to intelligence of PLIF's planned attack. Heroes are mainly responsive.

I do agree with the point that there is a cycle of violence that has to be broken because the story has set up a good illustration of it's escalation but while the story reasons why the villains want to attack society that let them down doesn't change how the villains are going about that in a violent and deadly way that is going to spark a suppressive response - it's not necessarily faultly judgement on the heroes to respond based on their knowledge and what has traditionally worked to protect.

Your analysis of Bakugou I disagree with. Horikoshi takes care when writing All Might because everything he says has value and he never lies. Additionally violence in heroics is not inherently wrong as many of your meta's imply, so much All Might says to Bakugou, it's not wrong to seek being strong (so that is not regressive) and Bakugou seeking of strength and win is to be like All Might "I will win, that is what heroes do". Bakugou and Deku do understand each other on a personal level, pt1

“ Bakugo’s focus is still being stronger than the bad guys, rather than on saving people. It’s still all about winning to him”. This is not true. Since Kamino Bakugou’s development has prioritised saving. Leaving the battle with the purse snatcher to save All Might and the civilian from the lap post while also saving the people’s belongings, saving his team in joint training, saving Natsuo instead of fighting Ending, Saving Deku because he knows how self sacrificing Deku is and how that will get

that will get him killed. Furthermore he even forgo seeking more strength at Endeavours to look for what he was missing as a hero. Denying all this of his character is reductionist.“Bakugo was set up to learn something, and he didn’t, and that’s character regression! – again this is not true. He did learn, hence he started to actually progress as a hero whereas before when he was not learning he was punished for it. I am not saying the majority of your analysis is wrong – like Bakugou not yet

like Bakugou not yet dealing with his trauma or guilt both to All Might and Deku which leads to self harming battles and suicidal acts of saving but I do think a big flaw in your arguments is to ignore that Bakugou’s character has been exploring other aspects outside of strength and power to improve himself. You also cut off the part of the internship arc where Bakugou listens to Natsuo after the fight with Ending and after that Bakugou does think of his hero name signifying he’s grown somewhat

grown somewhat in thinking about what hero he wants to be – especially since atonement is what Bakugou mentions in chapter 284. Your analysis make great points but also feel very bias because you cut out a lot of information, information the story mentioned and connects up There is a difference between knowing the character’s fundamental flaw – how to deal with the feelings of guilt and weakness beyond simply pushing passed them unaddressed- and claiming they have not grown at all or regressed.

"..but All Might didn’t show up that day because he was turning a blind eye to his responsibilities." <- WHAT! You can't just put that in your analysis like it's fact. All Might might have been saving people at the other end of the country. Same with your writing on Gran Torino, lets ignore that Nana asked the opposite of what you claimed for him not to interact with her family to protect from AFO.

Okay, anon. I’m going to reply with more politeness than you’ve shown me. Your main problem seems to be that I don’t mention the hero’s perspective as often as you think I should, or the positive aspects or intentions of the heroes. However, what you call bias is incorrect because it’s simply the essential tool of making an argument.

Literary Criticism is the art or practice of judging and commenting on the qualities and character of literary works. It’s an analysis, interpretation and/or evaluation of works of literature. It is essentially an opinion, supported by evidence, related to theme, style or setting. All literary criticism is opinion based, it is a personal response to the text. I have always been forward and upfront that I consider myself to be using literary criticism. The best I can do is make my argument and support it with panels. Because these are my arguments that come from my head, they are inherently personal.

It usually includes discussion of the work’s content and integrates your ideas with other insights gained from research. Literary criticism may have a positive or a negative bias and may be a study of an individual piece of literature or an author’s body of work. (source.)

You are supposed to include your ideas whether positive or negative because the act of reading in itself is a cooperation between reader and author. Without audience response, a manga is simply a bunch of drawings on paper. It’s a story that exists only within the author’s head. However, people respond to texts in different ways, that’s the beauty of literary criticism itself. A story doesn’t have to be told in one way, it can be told in many ways.

Literary criticism is by its nature personal? I received two asks which asked what I thought about whether Bakugo has trauma from being kidnapped, and then an ask on whether I thought Bakugo was thinking on the relationships between heroes and villains. Whether Bakugo has progressed in saving people is not relevant, because I don’t think Bakugo cares much about the villain’s perspective at all and that to me is the more pertinent thematic question.

If I think the central theme of the text is “Are villain’s worth saving” then I’m going to include arguments that relate to that theme. The act of presenting an argument means I’m going to look for evidence that supports my side of the argument.

If I wibble back and forth if I add “I think” if I constantly bring up the other side of the argument, those are things that are only going to serve to weaken my argument. My goal is never to talk about things like they’re objective facts but rather present them as I see them.

Can you please try to understand what it’s like anon, to receive messages asking for my thoughts, and then when I share them? For free. On the internet. To receive criticism for... sharing those same thoughts.

Your argument starts with a personal argument against me, accusing me of biased and being unfair. However, I’m not writing whether or not you should like or dislike certain characters. I’m trying to make arguments about themes, Ideas, and justify my own observations on those matters. Once again, all text is a response through a certain narrow lens, because it’s impossible for someone to talk about a text from every single angle possible and mention every single detail. (The posts would be so, so, long and they’re long enough already. What I’m using is a story lens.

For example, there’s a feminist lens.

What does it mean to read through a feminist lens? The feminist lens allows us to look at text through the eyes of a feminist to closely analyze how women are portrayed and presented in comparison to men. Feminism- a movement for social, political, economic, and cultural equality between men and women; campaigns against gender inequalities.

A Narrative lens is by its nature reductive. You are reducing a text that can (and should) be read many different ways into one lens. It’s like if you’re writing a story from a first-person perspective, you can’t have a character telling the audience other people’s thoughts unless their a mind reader, because you have to carefully consider what point of view you’re TELLING the story from.

In the opposite case when analyzing a text under a certain lens, you have to carefully consider the point of view you’re READING the story from.

My blog is titled “No Heroes, Only Villains”. I have made it clear in the past that I’m arguing in favor that the central theme of the story is “Do villains deserve to be saved? Are heroes contributing to the violence of the system.” I read the story through that lens, and make arguments in favor of that lens.

I am, in fact, completely at liberty to say that All Might neglected his responsibility towards Shimura Tenko. Because the THEME of the STORY is that Shigaraki was created by the neglect of everyone around him and hero society as a whole. All Might is told years later that Shigaraki was captured by All for One and tortured for years, and rather than take responsibility then and there, he handed it off to Gran Torino. If the story is continuously building up the idea that the people who could have helped Shimura Tenko in some way, didn’t end up helping him, then I can respond to that idea.

It’s a repeating motif. Shimura Tenko being alone in the street waiting for one hero to save him when nobody did. In real life it probably wouldn’t be anybody’s fault, yes. It would just be a sad accident. However, in stories, there are always reasons behind the characters actions. The reason why is because the authors intentionally craft stories to make some theme come across. So, in regards to theme, All Might did contribute to the fact Shigaraki did not get saved. Not only that, but if you were to not hold All Might accountable that only weakens his character.

Characters are stronger when they are at fault. Characters are stronger when things are decided through their choices and actions. Otherwise a story is a bunch of things, happening to people. All Might chooses not to try going after Shigaraki when Gran Torino advises him to treat Shigaraki like any other villain and that choice means something.

Other things are things that are just, already obvious? I think the story already makes the case clear enough the good intentions of the heroes, so my commentary on it is unnecessary or redundant. The story already tells us how good All Might is, the story already holds Nana Shimura, Toshinori and waxes on about their good qualities. I’m simply offering a different perspective. If I can find evidence of the text of my perspective then the argument is valid. It doesn’t have to be right, it just has to be supported. Another thing is, while it may be true that the villains are dangerous and bad people there are countless cases of villains at least trying to make their arguments, and plead their cases to the heroes, only for heroes like Endeavor to completely brush them off, or tell them to shut up. Shigaraki gives an entire speech about his perceived flaws with the hero system and Endeavor doesn’t even listen and tells him to just die. So yes, I think it is fair game to say that the heroes for the most part are blind to their own faults. Maybe in real life people wouldn’t have to listen, but it’s a story. The point of villains appearing in a story, and pointing out those faults to the heroes, is to have them confront those faults. The confrontation of those faults is what leads to character growth. If the villains weren’t supposed to be right to at least some extent they’d always be chaotic evil monsters. They’d be captain planet villains. The heroes have to be wrong to at least some extent because otherwise there’d be no story because the character has to learn over the course of the story.

The goal of literary criticism isn’t to be right, to have my opinions be more correct than the opinions of other people. You and I are able to have two completely opposite opinions of the text and neither of those opinions negates or cancels out the other. They can in fact coexist because we are different people of different perspectives that simply read things differently.

The goal of literary criticism is to do the best job I possibly can of making my argument easy to understand, which is why I present a clear argument, don’t contradict myself, don’t use wishy-washy language.

I’m being polite and responding to you, but please don’t do this again. As I said, it’s my firm belief that my opinion doesn’t contradict yours in any way. I wouldn’t try to go out of my way to invalidate your argument like this. I love hearing about people’s different perspectives on the manga, and talking with people with different opinions than my own, but only if they’re willing to play ball with me.

#askspookies #Anonymous

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