#many thoughts here. very interesting parallels

[wild-magic-oops]

Ketheric referring to Durge as a "mad dog" vs Gortash referring to Orin as that in contrast to Durge

[glubandeepspace]

the. rafayel card.

felt like a movie

huge shame i cant just tell randos its my new favorite movie. as it is

[lunahearts]

Soooo I read all of Dungeon Meshi in this past week and I have many thoughts bouncing around in my brain and I think the only thing to do with them is some AGGRESSIVELY CLOSE READING of a scene I wanted to come back to and try to understand better.

So: I want to talk about chapter 28

This entire section of the story is something I feel like I am going to want to come back to a lot, because its such a transitional time and I feel like there are a lot of themes/ideas that I wasn't fully aware of during my first reading, and stuff I missed because of that.

One of the biggest things I have been turning over in my head is... hey, what was UP with the Marcille/Falin bath scene? Maybe it was because I was already primed to pay attention to stuff with them going into the story, or because I had already seen a couple of panels out of context. In any case, it really kind of stuck out to me as being very short but also VERY intense, while also being... hard for me to define? Some part of the nature of the intensity felt like it was going over my head.

I wasn't sure that revisiting it would help with this right away, but to my surprise, it actually WAS a lot easier for me to follow and understand when I went back to it. So I want to just do a close reading of That Scene and some other parts of the chapter & context around it all, because I think it offers insight into Falin & her relationships, and what purpose this chapter serves within the story as a whole.

So first of all, I think it's interesting that the scene starts with Marcille bathing Falin.

It feels very caring in a more platonic, less charged way then what will follow.

Marcille goes from this caretaker mode to joining Falin in the bath, and then of course we get the first of The Panels

(as a small note, I only noticed when revisiting that Marcille is using the rest of her Kelpie soap in the bath. Isn't that just the most heartwrenching little detail. Augh)

Anyway, one of the first things I thought was interesting going back to this is how much it reminded me of the very different sort of intimacy that came just before it - when Laios and Marcille assembled Falin's bones.

This is such a beautiful and intimate sequence, and something about Marcille examining Falin, whole, after the fact... I can't imagine there are not some echoes of those bones in Marcille's mind. The action seems more startling/intense for Falin at first, and maybe part of that is because Marcille has already experienced this level of intimacy with Falin's body in a way Falin herself wasn't a part of.

This panel in particular I think is a summation of the difference in the experience for them. This looks like... near orgasmic for Falin tbh, and Marcille is very focused on the actual like practical part of what she's doing, seemingly completely unaware of the Effect she is having on Falin.

The whole short sequence is focused on this intimacy that Marcille initiated seemingly without fully being aware of what she was actually doing. And once Marcille is satisfied, she is also the one that ends it, sitting back in the bath and moving out of Falin's proximity. All on her own terms, and for her own ends.

HOWEVER... Falin doesn't just let things go.

Instead, she returns Marcille's attention. First, by asking after her wellbeing:

Marcille, of course, deflects (there will be a lot of that in this scene).

But Falin doesn't let it go.

Falin is not a confrontational person. She likes to keep the peace. In this context, and in context of the way that Marcille was the one to come into Falin's space initially, the way that Marcille controlled the initial intimacy... this is striking. I genuinely think that these three panels might convey one of the most assertive actions Falin (as herself) takes in the entire story. One of the only things that outdoes it is the fucking INCITING INCIDENT OF THE WHOLE STORY.

I'd also like to point out here that this action of Falin's also parallels her resurrection by Marcille & Laios. It's is also a forbidden magical action done to save someone(s) she loves, and its something she does TO them, that they are not fully aware/able to react to until its done.

Anyway, back to the bath scene. Falin is taking action here and asserting herself. And how does Marcille react?

She flips out!! She rejects it! She tells Falin that she isn't supposed to be acting like that.

It's a very distancing response from Marcille, and also one that puts her back in that caretaker mode from the start of the scene. She also puts even more distance between herself and Falin by sinking into the water.

Falin doesn't give up though! She continues to assert herself. She's okay, she is allowed to chose to do this.

And Marcille continues to push her away. It looks to me like she only starts to relax a little once she fits Falin into a role she can better define and control. You're a patient, you're recovering, I understand this fact and you don't. Let me take care of you.

But, for a third time, Falin pushes back.

I don't think it’s coincidence that this is where she opens her eyes. She asks directly about the thing that they have both been dancing around:

The resurrection spell. The fact that Falin KNOWS about this, at least in part, recontextualizes the quiet battle for control between the two them. They both know at least some part of the truth. Marcille wants nothing else then to ignore it. Falin wants to be able to talk about it. Marcille's blatant refusal to give her those answers, I think, is what keeps them out of sync - intimate only ever in one direction at a time, never fully together.

And of course, even when directly confronted, Marcille refuses to engage with the truth.

This moment being on the bottom of the page is notable too. There's a beat here. The last panel holds on Falin's face. The reader reaches the bottom of the page, and they are held here for a beat as well, with Falin. It's not quite a rejection yet. What Marcille says isn't directly an answer to Falin's question, but it is a response. A valid one, even! Falin wasn't just asking the question after all, but struggling with guilt that Marcille has every reason to want to reject.

But then you move on the next page, and...

Marcille isn't actually addressing the question at all, not directly. She's deflecting, again. Oh we had a ~difficult time~, there were a lot of "tough situations." Even though she and Falin both know about the resurrection, and Falin has made it clear that she wants to talk about it, Marcille pushes away from the actual topic. She keeps things broad and indirect.

She offers the smallest gesture to Falin - nothing more than a whisper of 'don't worry about it I won't get in trouble' (even though Falin's concern was never just about Marcille getting in trouble).

Marcille then continues to deflect even further, completely changing the subject onto clothes and frog adventures, which seems to distract Falin as well, as she finally gives up on pushing.

And that's where the scene ends! Marcille pushes into Falin's space (without fully realizing), and Falin pushes back. She tries three times to get Marcille to acknowledge her wants, and three times Marcille rejects her, though she does eventually convey some truth. She is honest in her belief that Falin doesn't need to feel guilty, and that things will all work out, even as she continues to deflect the rest of the question. Falin finally accepts that, the topic of conversation changes, and we move on.

But there is a little bit more that happens between them. Towards the end of the chapter, they have this little 'oh no we have to share a bed' situation. Classic stuff.

And Falin seems to realize that the context of this is kinda different now then it was when they were in the magic academy. She's not a kid any more, and they just had those intimate moments in the bath. There's a new tension between them, or one that new at least to the bed sharing of it all.

And in this respect, too Marcille pulls away from what Falin is trying to say. She tries to frame Falin as a kid, tries to insist that nothing is different.

When I first got to this part, it honestly felt... a little uncomfortable? After the bath scene, it is really weird to move into a new intimate situation with Marcille explicitly treating Falin as a kid.

What I have realized in coming back to this scene, though, is how much I think its meant to feel uncomfortable. Throughout the chapter, Marcille's responses to Falin become increasingly patronizing. By letting some of that conflict between them resolve at the end of the first scene, the chapter seems to let things rest, and lets you set it out of your mind.

Then, when the same type of conflict comes back at the end of the chapter, Marcille is even more blatantly treating Falin like a kid, and the unfairness of it hits even stronger. They are both adults, and Falin deserves the truth. After 27 chapters from the perspective of Laios, Marcille, and the others in the group, this progression lets you feel things from Falin's perspective. It's supposed to feel uncomfortable because it IS uncomfortable for Falin, the way no one will quite tell her the truth.

After all, Marcille isn't the only one to do this kind of deflecting when Falin tries to ask about what happened. Laios has a similar response, right down to the 'treating her a bit like a kid' part.

Even more importantly, this final conversation of the chapter reveals one last layer in the knowledge/power imbalance between Falin and the rest of the party: she doesn't actually remember sacrificing herself and teleporting them out.

As I mentioned before, that action was one of the most assertive things we see Falin do in the story, and she doesn't even get to keep that for herself. Instead of being her action, her choice, it becomes yet another thing that the others know more about than her.

I think that's part of why there is such an air of melancholy to this hug they share on the next page

Obviously, obviously, there are so many emotions here for Laios and I don't think its all meant to be viewed as a negative thing, or that he or Marcille are being completely unreasonable. They've been through a lot, and what's more, they think they have time now. So much more time then they actually will have. Time to explain, to open up, to let Falin return to the group in full - as a teammate and not just as someone to be cared for and protected.

But they don't get time. And this relenting by Falin, this "I won't do it again," it's not something that feels triumphant. It's an attempt to comfort them, more a prayer than a promise. As if she is trying to exorcise a spirit. As if she is capable of promising that death won't come, eventually. It's what Laios needs, not what she wants.

That's the real tragedy of the chapter, I think. It's the one time, in the midst of everything, that they have the chance to give Falin what she wants - and they don't do it.

But I do think they realize that, and I think that this failure is a core part of their journey. It's another bittersweet taste to add to the mix - all the missed chances in this chapter to connect, amidst the moments of genuine peace they do get throughout it.

As Laios puts it later...

If Falin hadn't been eaten by the dragon, and perhaps if they hadn't failed her here, they never would have had the adventure that they got to share.

(or, perhaps more tactfully: in life & chapter 28, there are both good times and bad. Thanks, Chilchuk)

[creantzy]

Defying God - a parallel between Fyolai and Stavrovensky

The Demons brainrot is taking over, and you know what happens when I acquire a new interest: my brain WILL find a way to connect it to my other interests, whether I like it or not!! And this is essentially what it's about xD I've come here to present a parallel I found between Fyolai (Fyodor & Nikolai from BSD) and Stavrovensky (Verkhovensky & Stavrogin from "Demons" by Dostoevsky). Before I start I want to clarify a few things:

• I don't think these two pairings are similar, I just love picking up any crumbs of connections I can find between my interests, even if it'd count as reaching.

• This interpretation (in either character's case) is in no way "the only true way of looking at it". It's merely one interpretation out of many and I chose to focus on just a few aspects out of the many others there are to explore in these complex characters. 

• Feel free to add onto or disagree with anything I say! I'm interested in your thoughts :D

WARNING: There will be spoilers for Bungou Stray Dogs and Demons.

The reason Nikolai wants to kill Fyodor is because he feels affection for him. Emotions are a prison to him, and he basically seeks the opposite of what his emotions make him want to do. Thus, in the face of affection, which makes you want to be closer and wish the best for your friend, he does the opposite and decides to kill said friend, going directly against his feelings in an attempt to prove free will. But here I want to focus more on the "You want to defy God in order to lose sight of yourself" part, specifically the bit about God.

One part of my interpretation is that Nikolai associates God with control. If there is a God who controls all, how can there be a free will? He wants to go against Him and His creations (the human mind, morality, etc.) to prove that it's possible. But God is very abstract - the idea of God is influential but varies depending on cultures, etc. For this point, I'll use the example of the biblical God, or, more specifically, some attributes commonly assigned to the idea of God:

• omnipotence (all-powerful)

• omnipresence (all-present)

• omniscience (all-knowing)

What I am leading up to is the fact that these traits can, in one way or another, be applied to Fyodor. Fyodor's character represents everything Nikolai wants to defy. Nikolai hates control; he wants to fight the idea of God and prove the possibility of complete independence. Fyodor (though not in a "direct" way) could be seen as a symbol for God. He knows everything, he is always present (metaphorically and sometimes literally, the way he spawns sometimes I swear-), and he seems to control everything. Only few people actually see him, but he pulls the strings behind the scenes, and his power is felt everywhere. For Nikolai, to kill Fyodor is not just a protest against his feelings of affection, but can also be a symbolic act of defying "God", of killing "God", by killing Fyodor.

This is supposed to be very symbolic and not taken literally. I feel the need to repeat this because I personally dislike the notion of Fyodor as a literal God (and disagree with the idea of him having a God-complex), so this is merely about the God-like traits he possesses, like a "substitute" for the idea of God, and how it interacts with Nikolai's philosophy. (I've also exaggerated some points for the sake of simplification - for example, I don't actually believe Fyodor is in control of absolutely everything, etc.)

Moving onto Demons:

Pyotr Verkhovensky grew up religious and (assuming based on Stepan's description) with a fear of God.

Now he's an atheist and very anti-religious. He plans to overthrow society, and destroying religion + everything it preaches is part of that plan. But interestingly enough, he picks not himself as the official future "ruler", but someone else: Nikolai Stavrogin. He chooses Stavrogin to be the role of the leader in Verkhovensky's ideal society. But not exactly the "leader" in the traditional sense, because he wouldn't necessarily give Stavrogin all the power. He would simply use him as a "pawn" (for lack of a better word) while himself pulling the strings behind said society. With that, Verkhovensky puts someone else above himself, in a God-like position, but he wants to do it while still keeping full control over Stavrogin. By doing so, he would overcome his childhood fear of God because instead of being controlled by God, *he* will control God.

(Same case here, not the literal God, but the character who he assigns God-like traits to.)

I am undecided (with both Nikolai's and Verkhovensky's character) whether this could be read as a solely subconscious intention or if it would make sense as a conscious one as well. Given that both have a different "main" goal (Nikolai focuses on emotions and Verkhovensky on the revolution) I lean more towards thinking it's subconscious (if present at all - like I said, just interpretations!)

It doesn't help that Verkhovensky describes his vision of Stavrogin's leadership as "hidden": Everyone believes in him and his power, but only very few people are said to actually have laid their eyes upon him. When I first read this part, I was honestly reminded of Big Brother from Orwell's 1984, but eventually realised that similar things can be said about God as well.

While these are parallels, they don't come without differences. Nikolai needs Fyodor dead, Verkhovensky needs Stavrogin alive. Nikolai wants to kill Fyodor for a sense of freedom, Verkhovensky wants to keep Stavrogin for a sense of control. Yet both symbolic goals are bound to fail:

Fyodor turns out to be unkillable, and Stavrogin ends up dead.

At the end, "God" stays untouchable.

[pia-nor481]

Empty bed Part One

Lando Norris x reader smut 18+

2.7k words

Racing was always hard on Lando, he left exhausted and with extreme back pain from sitting almost parallel to the ground in the Mclaren. Many thought he was happy with P2 most races, but that wasn't the case. Coming third means you beat seventeen other drivers, it was something to be proud about. Coming first means you won, all the effort you put in payed off for 25 points and a trophy with "1" written on the front, it meant you were the best on the grid. But second, it always came with the worst feeling. He would be ecstatic getting out of the car, sitting in the cool down room and spraying champagne on the podium, but once he reached the sofa of the post race interviews, waves of dread and disappointment waved over him. "So what about the car is proving to be so tricky for you?" One of the interviewers asked looking directly at Lando, he couldn't blame the car if Oscar. a rookie, managed to come third in the same car. A car that was made for him. "Nothing, just a ... lack of talent." The pause after was so loud, although if Max and Oscar had their mics up, it would have picked up their laughter. But Lando wasn't joking, he just broke the record for the highest number of points without ever winning a race. It was upsetting sure, but his team mate winning a race before him, even though it was a sprint, hurt him even more. It wasn't Oscar's fault Lando felt so down, he just got used to losing, 

All the drivers decided to go out to a club to celebrate another win for max. Lando loved clubs and raves, the atmosphere was so over whelming that he couldn't really think. The DJ wasn't playing as well as he should have, Lando thought, he dances around the line of confident and cocky very well, it was never a turn off. He left Daniel to go the bar for another drink, once he got his vodka and coke he debated on just staying at the bar, drinking a way his problems just for the night. He didn't have to worry about a race next week so he didn't have to easy. Taking a sip of the barely cold drink almost caused him to cough, this was not the Smirnoff he was used to, there was an artificial after taste to the drink as well. "I think you might have my drink."  The girl next to him said laughing lightly, clearly trying to hold back her tears, not from laughter but from the remaining taste of vodka in her mouth. "I think so. Well, here's your just less than full rum and diet coke." Lando said, offering a playful smile in return, offering the glass to her, she took a sip with a nod, pleased to wash the awful taste out of her mouth. "You can definitely have your glass of paint stripper back." Lando chuckled rather loudly at her comment, it wasn't the first time some one had commented on his choice of drink, but her was the funniest. "You don't sound local, so I'm guessing you don't do this very often." He had to shout over the music, in retrospect he should have listened to Daniel on how to chat girls up, but she was too cute not to try. "If you mean come to clubs and talk to strangers at the bar, no. If you mean steal the drinks of very attractive men, then yes." He could barely hear her, so he had to lean in close. Her perfume was sweet and inviting, it was as if everything she said was the most interesting thing in the world, he was captivated. He was able to take her all in, a beautiful mini skirt, it was blue and iridescent, and it barely covered anything, if an elder saw her they would claim it to be a belt. Her mesh white top didn't aid in covering her any better, it did have long sleeves sure, but you could see her lacy white bra beneath it. She clearly knew how to style herself, she had lovely little white heels on and a lot of highlighter on her cheeks. She was stunning. 

"So what are you doing here ....?" She trailed off, not knowing his name. "Lando." He almost struggled to get out, so concentrated on her. "Celebrating with some friends, What are you actually doing here, other than chatting up men?" he almost laughed out, she joined him. "Looking for some fun." She hid her face behind the glass, allowing him to see the frosty blue eyeshadow on her lids. "Is that so?" He responded in a lower octave, reaching out to touch her waist with his free hand, her back immediately arched at the feeling, he was pleased to see how well she responded to his touch. She necked her drink quickly and grabbed his wrist, going to tug him out of the club. He was shocked with how her demeaner changed, she seemed so shy, but now she wanted him so desperate. Once he caught up, she stopped her by grabbing her hips firmly. "My hotel is definitely closer." Lando said, reaching for his phone. Once they were inside the taxi, he couldn't keep his hands off of her, his tongue was basically down her throat with how much he wanted her. Once of his hands snaked up her back, running his hingers over her vertebrae, her face began to warm at the feeling. 

Lando practically dragged her out of the car towards the door of the hotel. Once the lift doors shut he pushed her against the mirrors, kissing her lips again in desperation, in the process his hands grasped he sides of her face, smudging her make up. She rested her hands on his chest before pushing him back slightly, needing air. Lando however, didn't need a break, his continued his venture of kissing every bit of exposed skin, first her neck, the collar bones, there her chest. It was at this point he could also smell her body wash and lotion, their proximity was giving him good access to her body. She began to pull on his hair slightly as a sign to come back up, she reconnected their lips while he hiked her leg up around his hip, groping her ass unapologetically. The doors opened and they rushed towards his room. They didn't stop kissing until the back of her knees hit the bed, their contact broke for a second as she fell back. This gave Lando a chance to really take her in, and she was perfect. He began to lean over her, running his fingers over her neck and jaw, until he reached her mouth, she toyed with her lips before pushing his fingers between them. She sucked lightly, not breaking eye contact, Lando's breath got caught in his mouth upon the sight, licking his lips as he felt his cock get harder in his black trousers. He slowly pulled his fingers from her lips with a loud pop. She tugged her white top over head with more pace than he thought was possible, he quickly pulled her skirt down and was met with the intricate white lace of her underwear. "Fuck me." Lando rasped out, going to pull his clothes off. "I plan to." She said back, sitting up on her knees at the edge of the bed, reaching for his cock. Lando stepped closer, rubbing the tip over lips, before lightly tapping her cheeks with it, even now he was bit of a tease. She stuck her tongue out while grasping his hip, wanting him to be still while she took his whole cock in her mouth. His head fell back slightly as he groaned feeling the tip hit the back of her throat. "That's it baby, just like that." She bobbed her head over and over, motivated by the noises that slipped his mouth. He pulled off and quickly began to glide her tongue on the underside of his cock, she kissed and kitten licked the head before taking his whole cock again. He was surprised with how eager she was, no other woman was able to take the full thing, they had to use their hands to cover the base, she didn't. Lando let out blissful sigh above her, slipping his hand over her jaw, forcing eye contact. He tightened his grip when she hollowed out her cheeks, the pressure was becoming too much for him. His hips thrusting slowly was a sign of how close he was getting. Lando's hands found the back of her head, pushing it down until her nose met his pelvic bone. He lost himself in the feeling of her mouth, his cock pulsating as he moaned out quietly. Her mouth was quickly filled with his cum. "Swallow for me." She did as she was told, looking up at him when let her tongue lull out. 

Lando groaned as he stood up, walking leisurely towards the bed side table, his hand quickly met the neck of a bottle, a bottle of Ferrari champagne. She leaned back on the bed as he slammed the bottle on table before looking back at her; spraying the bottle above her. Her skin quickly became sticky with the bubbly liquid. This gave Lando an excuse to suck on her skin again, obsessed, he needed to feel her against him. He licked his way down her abdomen, once he met her cunt he sucked her clit rather aggressively, she moaned at he contact, closing her eyes to bask in the feeling. He wasted no time slipping his fingers between her slick lips. He began to scissor slowly, hungry to hear her whines at him stretching her out. He was relentless in licking her clit, switching from slow circles to shaking his head side to side, pushing his tongue down flat and hard got the best reaction from her, so he was persistent; curling fingers every now and then to receive an extra gasp. Her heels began to dig into the mattress as her pelvis began to rise; he would gorge on the sweetness leaking out of her cunt. She was quickly becoming drunk on the feeling of her blooming pleasure; rolling out a song of moans and hums. Her hips began to twitch against his face, the orgasm was a sight to behold, let a lone something too feel as her mind began to melt as he sucked and licked aggressively. She didn't know whether she wanted to pull him closer or pull away. The stimulation was too much and she began to see stars in her new found haze, moaning out curses with a mix of his name. Lando pulled away, flashing his teeth in the process of smirking. 

Once she caught her breath, he leaned closer brining the bottle with him. "Open, baby." he tilted the bottle back, letting the champagne pour into his mouth, but his Adams apple didn't bob. He grabbed her jaw and let the alcohol spill into her mouth, she swallowed quickly, wanting to feel his lips on her, he was intoxicating, a feeling she hadn't had in a long time. She was so focused on him that she didn't register being flipped over onto her stomach. Lando pulled her hips up, supporting her weight slightly. She pushed up onto her elbows as he spoke. "You gonna be good? yeah?" he said with a tinge of sass, smacking her ass lightly. She nodded, moaning out as a verbal response. He chuckled before sliding his cock through her lips, she clawed at the now wet sheets, unable to control her self. Lando started slow needing to pace himself slightly, just kissing her got him so worked up, “Fuck.” He strained, becoming more breathless with each thrust. As he continued to press into her, she couldn’t help but clench around him, the way he was hitting all the right spots, touching her skin, groaning in pleasure, made it all that much harder not to cum then and there. His hand made contact with her ass In sequence with the thrusts, the sting was painful and yet it felt euphoric, she groaned into the bedding at the feeling.

Once he pushed in to the hilt, she arched her back further, not being able to contain herself for much longer. Hot breaths filled the air, which was already filled with sex and desire.

Lando’s hand make work up her back before drawing shapes on her shoulders. His hand soo reached her scalp, where he grabbed a fist full of her hair and tugged lightly; ensuring she wouldn’t object before he pulled rather hard, causing her back to reach his chest. He kept her hair in his hand while sucking on her neck, she wanted to feel everything and he made it happen. “Oh, please Lando, please.” She asked, gasping for air after each word.

“Why? Can’t hold it?” He teased, not that he was any better off. She just felt so good and her reactions only heightened the sensation. She whined in response as he thrusted deeper inside of her pulsating cunt. He groaned in her ear before speaking again, “you didn’t answer my question baby.” He was being cocky, but in a way he knew would only turn her on further. “I can, I swear.” Her words were slurring together, making it that much more obvious that she was on the edge of euphoria. She reached around him, grabbing his waist for some support, she could barely hold her head up anymore, the over stimulation setting in quicker than she anticipated.

Lando’s hand slid back down to her clit, aiding in the blissful feeling. Rubbing figure eights over her cunt while thrusting harder made her moan louder in between heavy breaths. He was smirking into her neck, knowing how good he was making her feel. She could feel his teeth against her skin, he was biting down, almost as if to hide his voice, muffling the groans. “That’s it baby, cum for me.” He said, voice dropping an octave for a mere second. She did as she was told, practically spasming in his arms as she let out guttural moans. The feeling of her clenching caused Lando’s cock to twitch. A mix of their cum dripped down her legs and into the bed.

“Good, so good for me. Makin me feel so good baby.” Lando whispered, pulling out. He ran his hands over her body gently, it almost tickled. By the time he got under the covers, she was already asleep; hair tangled, make up smudged and skin dotted in marks that would be hard to cover with the clothes she was wearing, or lack there of. Lando was happy, it was more than the post orgasmic haze, something about her was just right. He didn’t stop touching her, keeping his arms tight around her body to keep her warm, knowing the alcohol would wear off. He felt like he’d accomplished something more than just a win.

When Lando woke up at half past eleven, skin stuck to the bedding he was surprised and confused, until he remembered, partly, what had happened that night. He looked to his side, only to find an empty bed. He shot up, quickly looking around the room for any sign of the night. He walked through the whole “room”, past the tables and sofa, only to be met with silence. Lando walked back to the bed sorrowful, knowing his flight would leave in an hour, so he decided he needed to get ready.

Once he opened the bathroom door he first noticed it was still quite warm, it wouldn’t have been because he’d used it more than 24 hours ago. The condensation on the glass was new. Someone had definitively used his shower. Wrapping a towel around his body as he left, Lando went to his suitcase to pick up some clothes for the flight, he again noticed something was off. One of his hoodies was missing. In an attempt to find it he stumbled upon a pair of white lace underwear across the room. He was please that he didn’t imagine last night, but was disappointed she wasn’t still there. Lando was broken out of his trance when he heard the sound of a notification from his phone.

“Hope you wore a condom xx”-Daniel

Any mistakes let me know.

Part Two

[bugs1nmybrain]

✨️ L Lawliet w/ a Shy & Insecure Reader Headcanons ✨️

Notes: I got real specific here. I need some validation haha. I swear if L ever complimented me I'd implode and then explode like I've done many times in the DS game (don't make fun of me >:<)

I'm adding pink text and sparkles to the title. Cope with it DN twt

Warnings: 18+!!! There is some sexy content, no gendered terms or pronouns. I tried being inclusive with the sexy stuff. Talks about poor self-esteem and insecurities. L being his rude ass self at one point. Reader described as quiet. I did indeed write L as a sweetheart, and I don't regret it one bit! :D. Not proofread

For starters, shy isn't a problem for L. He appreciates that you're quiet and relatively polite. It makes it easier for him to get away with dating you because he knows you're not going to be obnoxious around headquarters, and there's a good chance you'll never even mention that you're his partner

He finds it vry cute. Especially when you stumble over your words when he flirts with you. His pride is very comfy with you.

You are a perfect parallel play lover!!! He's grateful that you don't pester him when he's busy, but he doesn't mind you being around him. You can draw, do homework, write, play video games, anything. He just appreciates your company. He's also 100% paying attention out of his peripheral vision.

But because you're quiet, sometimes you don't share all of your thoughts with him and it can make for a satisfying relationship. L sure as shit isn't disclosing a lot of stuff, so he sees it as even

A lot of your secrets are insecurities, though. You worry a lot about your competency as a romantic partner. Whether it's your intelligence, physical beauty, personality, interests, anything really. You're always anxious that you're not enough, and not enough for him.

L knows well that you lack confidence. He's torn, actually, because he wants to see you become more sure of yourself and he'll try to help. He teaches you skills when he has time and makes sure to compliment you when you do something good. Sometimes he stretches the truth in his praises just to make you feel better. He knows you value his opinion a lot.

However, your insecure nature is an easy opening for him to get away with a lot. Nothing that serious, but secret tests are a given with L, and he does like to test if you'll push through him not given you the validation he knows you want. It actually does make him feel like 10% bad, though, and he'll make up for it.

He understands why you're insecure, but at the same time, he thinks it's silly. Especially when you admit to him that you're worried about your physical appearance or sexual abilities. It's in those moments he just wants to tell you to stop because "have you seen me, y/n?"

But yes please flatter his ego

When you started sleeping together it actually was pretty smooth and natural

I truly believe L was a virgin until you, so he probably wasn't much more confident than you

The doom of adult virginity/inexperience is that everyone expects you to be pornographic by now, and for an insecure person that can be very demanding

L doesn't expect that and won't be disappointed by something slow and "vanilla." He likes that, honestly. But of course, if/whenever you're ready for something more spicy, he's very open to communicating about it

This guy is just happy to touch you, period

If you fumble because you're nervous, he's not upset, but he'll redirect you with affirming words

He does admittedly get irritated by consistent nagging and the self-deprecating comments you make. It annoys him after a bit. He'll likely disengage to avoid hurting your feelings, but if you're persistent, he'll give it to you straight.

"The only thing you should be insecure about is that you're a broken record."

Fight the tears

It actually does make him upset when you doubt him and his love for you. It makes him feel like you don't trust him. L is aware that he's deceptive by nature, but he wants you to trust that he values you. He certainly wouldn't be in a committed relationship with you if his feelings weren't genuine

So he reminds you. Again. And again. That he wants you in his life and treasures you

You're lucky that he loves you so much

Sometimes, you'll go through periods of isolating from him because you're afraid of bothering him. Trust me. He's glad to have time to work, but he does pick up on your distance quick

You're so afraid of asking him for attention

or even just a bite of his cake. He always offers, tho.

But yea. L is a busy guy and comfortable in seclusion, so he isn't that clingy. He can go a long time without checking in on you, which doesn't help the paranoia

When he decides to take a break for once, usually his first instinct is to either 1. Get coffee or a treat, or 2. Make a bee line to see you!!

OR 3. BRING YOU FOOD TO SHARE

Know that he loves you much more than most things. You are his priority, even if his work takes precedence at times.

He'll attempt to build your trust over time because he understands how hard it is to believe in someone's honesty. It'll get better, and you'll likely start to feel more self-assured with him. L talks a lot, but he believes actions speak louder than words, so he'll show you how much he loves you through the little things because you light up his world after an exhausting day full of murder and nonstop thinking. You're home to him and he wants you to feel the same way about him.

[cindersnows]

the problem with mitsi (or as i like to call it. mitsogyny)

(context: this was written under a youtube video, which i'm sure most of us have at least seen pop up in our recommendeds, in response to many people taking criticism against the new episode. it has been edited a little to be more cohesive as a somewhat-essay)

ok, i wanted to write out a rant/essay/ramble/whatever sort of summarising the criticism against mitsi's plotline because a lot of the people here seem to be misunderstanding the fundamental issue that people have with it, including some of those people themselves.

first off, an analysis that i think tell both sides of the argument very well which i feel should be read before reading the essay: Mitsi: What Makes A Fridged Character (and why y'all are wrong about it) | an AvA essay by InksandPensblog. i will note: i don't care to discuss whether mitsi was fridged or not and that won't be of much importance in this post. the above link gives some insight into some of the fandom's criticism of mitsi and how she was "fridged", defining common tropes for examples. that's what's relevant to this post.

the main issue with mitsi, in my opinion, is less with the fact that mitsi's a girl and moreso the fact that she's one of the only female-coded character in the series, and that her character's main purpose was to further victim's own development. the other arguably female-coded character in the series is pink, who (like navy) only really exists to explain purple's motivations. i don't have much of an issue with that since they're not meant to be important or sympathised with at all. that's not their job in the story.

with mitsi, i've seen people point out that she has more character to her than just victim's love interest and supporter: she invents rocketcorp, she's smart, she's kind, innocent and helpful. narratively speaking, she shows other creations' relationships with their animators, parallels her innocence with victim's trauma, and introduces victim to the outernet (as most fans call the stick realm).

but most of this things imo are either stretches or invalid arguments. she's not really a 2/3-dimensional character in any way; her main character traits boil down to the fact that she likes to be in service of others with no nuance behind why she likes helping people. she hypes up victim for the villagers, she starts a company with him to share his talents with the world, and she helps him overcome his trauma from alan's torture. all of her main plot beats center around victim: and while technically the sticks are genderless and free to be interpreted however the viewer wants, alan and most of his team see all the main characters as male, and that subconciously affects how they're written. mitsi, the first major female-coded character, spends most of her storyline in service of victim, a character not written as female.

there's also the issue of her being victim's canonical love interest. i feel like this statement from alan is important to keep in mind (don't mind the sound effects and edits, this is the only isolated clip i can find at the moment). in particular:

"i just assume that [the ava/m characters] are just a bunch of bros]. i haven't thought of adding any female stick figures but i think it'd be good. i don't want to introduce any romance though, i don't want that to be a theme."

he seems to have changed his mind on that last part, which is fine, but the notable part for me is that he seems to associate female characters with romance from the getgo. before anyone misinterprets this, i'm not trying to call alan sexist or anything. but there's a common issue with women in stories being reduced to just a romantic partner for the male lead, and mitsi falls under this, with her entire character existing to serve victim. (not to mention people will make things about romance whether you like it or not. that's just basic fandom. search up grapeduo or chodark.) even her death is to put victim on the path of vengeance--- it doesn't need to happen to show the extent of tco and tdl's destruction, because that's already made pretty clear in ava s2 the flashback and the earlier scenes showing various characters escaping burning buildings. when you write a female-coded character whose only purpose is to serve a male character, you're contributing to sexist narratives.

a counter i see many people point out with the idea that she has no character is that she does have character traits, it's just that they're generic ones like "kind" and "innocent". the issue is that she has no flaws to counterpoint this; it's not that she didn't have enough screentime. in ava4 for example, we see tsc's flaws pretty clearly; they can be very mean when they want to, they're petty (albeit for a fair reason), they're a little impulsive. this is shown in 11 minutes (from the moment they come alive to the end of the video).

with mitsi meanwhile… she doesn't seem to have any flaws? she helps victim whenever she can. she's nice to all the villagers. her customers all like her and she's a great leader at rocket corp (to note, specifically as part of a pair with victim. they're a power couple, she's barely given credit for her work alone). she has 13 minutes of screentime, or 10 if you count from her waking up in the outernet. there's plenty of opportunities to show her having flaws; maybe she acts a little selfish during tdl and tco's attack, only wanting to help herself and agent smith, or maybe she overworks herself, or feels awkward at having too much attention (and that could also be why she redirects so much attention to victim, she's shy). you could argue that the episode needs to develop victim and agent smith too, but ava4 shows that's easy to do too: just a few seconds dedicated to showing rgyb fighting over who leaves first shows that they can be selfish and childish. it's very easy to insert a moment like that for mitsi.

it's a little disappointing when the first major female-coded character in ava is completely flawless, with no personality outside of being nice and helpful for others.

also, slightly unrelated, check out this quote from mitsi's plushie website: "her white featureless face seems to ooze mystery and feminine power all at the same time." her main character trait, as a woman, is being feminine. it's irritating as someone who's been raised a woman to see her reduced to just her gender. she feels more plastic than a person, like the concept of what a woman should be (perfect, kind, useful) and not an actual character/person.

i would expect more from the writing in the series seeing as it's not just an independent passion project anymore, and has multiple writers that all could've worked to flesh out mitsi, or at least get a sensitivity reader of sorts to point these issues out. it's extremely disappointing and i can understand why people were upset.

tldr: the problem isn't just that mitsi's a girl, or that she's nice or dating victim, it's that she's written in a misogynistic way.

[vickyvicarious]

"He is young and strong; there are kisses for us all."

May 16

"He is so young and strong and of blood so pure that we need not defibrinate it."

September 8

Thinking about this echo, and the way Lucy and the suitors + Van Helsing provide a kind of opposing force to Jonathan and the vampire ladies + Dracula.

In both cases, we have the young, appealing innocent who is soon to be married and has entered a new phase of their life (Jonathan/Lucy). Both have an older foreign man become very interested in them and very fond of them in their own way (Dracula/Van Helsing). Both have three 'admirers' who want to 'love' them (vampire ladies/suitor squad).

Of course, noting this is nothing new. Plenty of people (and I myself) have pointed out these and other parallels between all these individuals. But I want to go a little farther with it today.

A vampire's 'love' is one of corruption and consumption. Jonathan was held captive in Dracula's castle, and forced against his will to adopt a largely nocturnal schedule*; he had to adapt in this and many other ways to his captor's way of life. The vampires had him in their control from the start, and he had to behave in certain ways to please Dracula lest he suffer consequences of his displeasure. Dracula was extremely possessive of Jonathan, right up until he wasn't going to be around anymore, and then he was happy to throw him aside for the others to devour. Despite this 'sharing', he and the vampire women are at odds and dismissive of one another (he spends most of his time shooing them away from Jonathan, they scoff at and mock him), and whatever love may have been there in the past is clearly long gone.

Human love is one of dedication and trust. The suitors (and later Van Helsing) all come to Lucy. Both initially, in visiting her to make their proposals at her house, and then later on coming to her home when she is ill; they come to her side when she is in need, and they drop what they're doing to adapt to her. When Lucy has to turn two suitors down, she feels awful about not being able to please them all, but each of them emphasizes that they don't hold it against her at all, and they will remain devoted to her friendship. None of them are possessive of her. (Admittedly, Van Helsing does somewhat frequently work to keep Lucy's loved ones apart from her, ushering Arthur away or drugging her to sleep when he's there; but he also invites them to come and help her with their transfusions.) Arthur, the one she has chosen at the exclusion of the other suitors, is notable for being especially welcoming to the others. It is on his behest that both Jack and Quincey arrive to help Lucy in the first place, and he is extremely grateful for and welcoming of their efforts in that vein (pardon the pun):

"Young miss is bad, very bad. She wants blood, and blood she must have or die. My friend John and I have consulted; and we are about to perform what we call transfusion of blood—to transfer from full veins of one to the empty veins which pine for him. John was to give his blood, as he is the more young and strong than me"—here Arthur took my hand and wrung it hard in silence—"but, now you are here, you are more good than us, old or young, who toil much in the world of thought. Our nerves are not so calm and our blood not so bright than yours!"

And this quote brings me to the next detail I find so interesting. In order to finally escape alive, Jonathan turns many of Dracula's tricks against him. Just to name a few, he does things such as: wall-climbing, sneaking around while Dracula is asleep, stealing Dracula's belongings. There are a lot of reversals between them in the last few days, both in Jonathan's explorations and his attack on Dracula. He's 'fighting fire with fire', so to speak, and it works to get him out of the castle. Later on, we see even more of this when he is hunting Dracula down near the end of the book.

He's far from the only person to do such a thing. Dracula himself is very deliberately doing this sort of thing throughout much of the book, from imitating Jonathan in the Castle to innovating ways to work around old vampiric limitations. And Mina is of course a whole example on her own of weaponizing the enemy's own tools against him. But so is this Van Helsing + suitor squad group in a really interesting way. Even Lucy herself, though due to circumstances, she's not the most intentional/active participant in doing so. Let's look back at that quote above again. Van Helsing says that Lucy "wants blood, and blood she must have" - in order to stop her from becoming a supernatural vampire, instead they willingly perform a sort of medical vampirisim. Here we once again see the contrast between modernity and the supernatural, and interestingly, how they overlap to cross purposes.

Dracula takes Lucy's blood away. Van Helsing (by proxy at first) gives it back. Dracula wants Lucy to become a vampire, and drink the blood of those around her. Van Helsing, in giving her transfusions, enables her to drink in their blood in order to prevent her from becoming a vampire. The three vampire women wanting to gang up on Jonathan and drain him of his strength. The three suitors join together to take turns sacrificing their own strength in order to supply Lucy with more when she's in need of it.

Dracula wants her to take, just as he and the vampire women do. In fact, almost everything he does to turn her involves depriving her of things: restful sleep, blood, eventually her mother. But in her friends, Lucy is surrounded by people who love her and give freely, and this saves her (at least temporarily). They all work together and love one another in a way deeply at odds with Dracula and other vampires' form of consumptive 'love'.

And so their vampiric actions of transferring blood between bodies are life-saving instead of life-taking. Jack and Van Helsing even remember a version which is all the more a mimic of vampiric body language and leans way into the vampire-as-disease metaphor, with the reference to the time Jack sucked "from [Van Helsing's] wound so swiftly the poison of the gangrene" - it's got the mouth on skin, the sucking, but it's taking away illness rather than infecting someone. It also fosters a long-standing dedication and love, which in turn lends itself to the saving of someone else. This too ties in to the way vampiric love isolates, while human love connects.

* Lucy, meanwhile, in fighting against her terrible dreams, often attempts to be awake at night and is unable to do so. A more nocturnal schedule would make her safer, since her sleeping state is where Dracula has the most influence over her.

[fishtrouts]

I'm noticing something interesting about Swordfish, and what I noticed seems to tie into the recent lore you've revealed about Avoryx and what she believes Hopper is going to end up doing someday. (The whole eating all her friends and terrorizing the countryside thing.)

It seems plain to me that Swordfish doesn't value material things, and instead is fascinated with the living, breathing creatures of the world. Hopper contrasts by loving all things associated with being a 'true' dragon such as material wealth and magical artifacts. All I've done thus far is state the obvious, but here's my actual point:

Could Swordfish's destiny be to right the wrong that is Avoryx's legacy of avarice, murder, and cruelty, by showing Hopper (even if Swordfish's curiosity and interest in the smaller, ordinary fauna of the world is childish now and not rooted in any kind of 'personal philosophy') that there are things to value other than hoarding inert trinkets, that the little wonders of living are worth cherishing and guarding too?

WOW!!! I very much enjoyed reading this analysis! It's such a joy when my silly comics invoke deeper thoughts and theories like this. Both Swordfish and Hopper are a part of me and my experiences, so many of their adventures are directly or indirectly inspired from my life. And many times I don't realize these parallels myself. Sometimes I just draw and write what I subconsciously know, but don't acknowledge to myself out loud. How parents, siblings, friends can affect you, shape your future etc. How every generation is hopefully better than the last. Your take is absolutely correct in that Swordfish's influence could change Hopper's future, but in the end it's Hopper who makes the choices. She admires her mother so much that she might be blinded to paths other than the traditional dragon tyranny.

But they're just hatchlings atm, so nobody knows what the future holds :P

[anniflamma]

My Thoughts on The Thunder Saga

I've been thinking about The Thunder Saga all day, even though I have a headache, and I can say one thing: I liked it!

I was mostly prepared for the emotional damage in Mutiny/Thunder Bringer for multiple reasons, like collaborating with Jay on the ending of Thunder Bringer. However, I was genuinely surprised by Suffering, Different Beast, and the reveal that Odysseus had already tried to kill Eurylochus during Scylla. I really wanted Odysseus to go full-blown monster mode in Act 2, so I felt satisfied.

Maybe this is a hot take, but I have never really felt bad for Odysseus. The only time I did cry and felt for him was when his mother was singing to him in The Underworld Saga. I've never been fond of the crying, shooting soldier type, both in fiction and in real life. I've watched too many documentaries that made me incapable of feeling bad for people or characters committing cruel acts on others and then crying about it like they were the victims.

The song Suffering was a delight! You immediately knew something was wrong just from the happy tone of the music, especially since we were left with Monster. At first, I thought it was a flashback, and yes, the comment "daughter" piqued my interest. Then I quickly thought it was a dream, but at the same time, something felt wrong.

When it switched to Different Beast, my first thought was, "Did he just shoot Penelope?🤣 " And yes, we now know it was the Sirens! But the imagery is very ironic. I even see it as a parallel with the first saga, with the infant. Odysseus has a whole song about his struggle with the decision to kill an infant that reminds him of his own child, ends up killing him, and then in the second act, he kills a female creature that looks like his wife without hesitation. That, folks, is character development! Yes, Odysseus knew it was a Siren, and we can still tell that he is somewhat tries convincing himself in Different Beast.

"My real wife knows I'm not scared of the water And my real wife knows I don't have a daughter"

Essentially, he is reminding himself that this woman in front of him isn't his wife.

All the cruelty against the Sirens was unnecessary. But that is the point! He believes that the only way home is to be as ruthless as possible. However, bringing unnecessary suffering to both foes and friends was obviously the incorrect decision.

Musically, the song Different Beast didn't really click for me. I mostly found it edgy and not really "cool," if you know what I mean. I've heard it a couple of times but still have a hard time remembering the melody, weirdly enough.

If I ever make an animatic of these songs, it will probably be all together in one animatic. Those two songs are meant to be one, but I understand why they are separated due to the major difference in tones.

The song Scylla was the least anticipated song for me. The snippets didn't really catch my attention. But I did like the conclusion of making Scylla and Odysseus have a short duet at the end. Scylla's cruelty was just a mirror of Odysseus, and he was the one actually killing his men. I think this saga really was Eurylochus' peak in terms of characterization. Eurylochus confesses that he was the one who opened the bag and has suffered with this weight and guilt. Odysseus, in his state of mind, turns away and tells Eurylochus to light a torch, knowing that action will doom Eurylochus. Odysseus straight-up tried to kill Eurylochus already, and I thought it would happen in Mutiny! XD

That moment was cold! No words, no goodbyes, just "Light the torch."

Then we have Mutiny. I really liked it! The callbacks to Luck Runs Out were a bit expected but felt so good when they happened! I've seen comments here and there saying that Eurylochus was a hypocrite due to his comment from the Circe Saga to abandon the men who became pigs. Odysseus even brings that up! But Eurylochus is very justified in calling Odysseus out for his actions.

"When we fought the Cyclops, you were quick to hatch a plan And when we fought with Circe, it was you who left behind no man But when we fought this monster, we didn't take a stand"

Odysseus could have made a plan that at least could have increased the chances of survival for the six men who died. But he didn't, he only thought of himself and betrayed them first, using them as bait to guarantee his own survival. Eurylochus, in the Circe Saga, was a man who was scared, confused, and filled with guilt for opening the bag. So his wanting to take the cowardly route is understandable, but it's nowhere near what Odysseus did.

So then they fight, epic moment, we all love it! And for the second time, Odysseus tries to kill Eurylochus but ultimately fails because Perimedes stabs him in the back. Odysseus is like, "My brothers, why?"

WHAT DO YOU MEAN WHY??? But that is still the point of Odysseus' perspective. He is acting like a ruthless monster now, so he is in a state where he is incapable of understanding or more like thinking of his victims' perspectives. Of course his men would defend themselves from him, of course they would betray him, of course they would backstab him. If you treat your own friends as disposable, eventually there will be a reaction: they will either abandon you or retaliate. It takes an immense depth of pride to feel secure with someone you have inflicted suffering on. And pride is the very theme in this saga!

When Luck Runs Out plays but the roles are switched, it felt a bit nostalgic in a way, but it's still a bit distorted. This time, Odysseus is the one singing Eurylochus' lines, but it's not him being confused and doubtful, instead, he is scared yet manipulative. Eurylochus opens up and is vulnerable toward Odysseus. He feels hopeless, clearly experiencing survivor's guilt.

"Eurylochus: How much longer must I push through doubt? Odysseus: I need to get home Eurylochus: How much longer must we go about my life like this when people die like this?"

When it doesn't work, Odysseus switches from "I" to "we." I love that detail. It's not genuine, and I love it!

Thunder Bringer… I loved it. There, I said it! There is nothing more! LOVED IT! ⚡⚡⚡ I am so happy that I got to do an animatic for Jay for this song!

Thunder Bringer is the song where Zeus punishes the whole fleet for killing (presumably) Apollo's cattle. My theory now is that Apollo doesn't like Odysseus for killing his cows in God Game, and Athena is probably like, "Yeah, but his men did it, not him." And Apollo is like, "Touché."

EDIT: I know that the cattle is Helio's but I speculating maybe the musical will change that to Apollos. Who knows!

Essentially, Zeus literally comes down and sets things straight. Instead of being sneaky and witty like Odysseus usually tries to be, Zeus just gets to the point, "Who gets to live?" And Odysseus points at Eurylochus/the crew, saving himself from Zeus' punishment. Well, I do see that Calypso's island is Odysseus' punishment in a way. It's an ironic one. He comes to paradise and gets a home and a wife… just not the home and wife he wanted. I have some fun ideas for my Thunder Bringer animatic!

Rest in peace, Eurylochus. You will be missed.

[carigm]

The “Teaser”, mlvn rooftop convo, and Lord of the Rings parallel…

This is gonna be a long post, so grab some snacks y’all.

First of all, the teaser the Duffers shared at this Netflix shareholders event was basically all BTS stuff, and according to someone that was there, we have mostly seen all of it. The actual clips from the show they showed were so short that most people missed it. However, over those short clips it seems they played a voiceover of part of the mlvn rooftop convo. Notice how the Suffer Sisters are literally incapable of sharing anything new, and the only audio they disclosed is from the ONE scene that’s been leaked to death, and even transcribed multiple times with the help of AI. In any case, Netflix did not share this teaser with the masses, and it’s unlikely they ever will. Stranger Things is not going to the Super Bowl this year (yes you heard that right) and the Tudum Event isn’t until May. Our only hope before that would be them releasing something on Will’s birthday, but whether in March or May, I believe we’ll be getting a proper teaser by then.

People that attended the event reported that El has a voiceover line where she goes “they don’t get to write the ending, we do” and apparently a voiceover Mike line where he goes “we’ll finish this together” (I’m not sure if this was paraphrased or not). Immediately, we all realized that these lines sound pretty close to what Mike is allegedly saying to her during the rooftop scene. Many people in the fandom have taken the time to transcribe that scene, some with AI and some without, and although some things could be wrong here and there, the general idea of it seems pretty clear. I’m attaching an AI reading of the scene here, so I can point out where I think his dialogue might be from…

Around the 1.43 mark, the AI picked up “enjoying it, together”, however I think this is where the “we’ll finish it, together” line comes into play. If anything, this shows AI isn’t 100% accurate, and it does call into question some of these previous lines 😂…I think it’s possible that after this speech from Mike about stories, fantasy endings and heroes, El tries to follow his advice and be positive, and maybe she delivers the “they don’t get to write our ending, we do” line back to him. It’s unfortunate because obviously we can’t see her face in the video, but I think it makes sense she would reply with that because right after it seems like he says “of, course…” and then proceeds to seemingly add that the Party can have a happy ending, without all the fantasy elements he mentioned before.

I find it very interesting that he’s choosing to speak to her with this storytelling analogy, which at first I believed to be a D&D analogy, but the more I think about it, the more I feel like he’s talking about an actual story. And then the lord of the rings parallel hit me, specifically with this scene. If you’re not aware, Finn Wolfhard has mentioned lotr twice now when talking about season 5, and I personally think it’s possible that Mike is using lord of the rings here as a reference to describe the hero’s journey and relate it to what the party has been through. Think about it, he’s trying to cheer El up, who has been stuck in that fuckass radio station for a year, who’s probably extremely tired of everything she has been dealing with for years, and he just wants to offer her some consolation so she can keep going and fighting. Does that sound familiar?

Well my friends, if it does, that’s because it is a direct parallel to Frodo and Sam from Lord of the Rings. I’ve always thought Byler were insanely samfrodo coded (funny enough the last S4 Byler scene is almost identical to this scene too), but it seems the Duffers are paralleling mlvn to them here. In lotr, Frodo bears the biggest burden of the story, as he follows his hero’s journey to Mordor to defeat evil. Along the way, ofc, he becomes increasingly weary and hopeless, and it is up to Sam (his best friend) to cheer him up and provide him with strength to keep him going. How does Sam do this? Interestingly enough, he encourages Frodo by describing all the beautiful things that will come AFTER they have won, what they and their friends will be able to enjoy when they get back home. Basically everything Mike appears to be saying to El in this scene, fantasizing about the end of the battle. To make the parallels even crazier, while on his hero’s journey, Frodo has to remain in hiding because there are multiple forces looking for him, and we know that El is basically hiding away from the government.

Another thing I want to point out is that in lotr (spoilers I guess 😭) good does win in the end, and the main characters get to return back home. However, Frodo is so changed by the journey and all the things he encountered that he simply cannot stay with his friends. Instead, he leaves and goes to the Undying Lands, where he finds peace. He doesn’t die, but he also cannot stay in Middle Earth. Him and Sam have a beautiful goodbye scene and then Sam is left with the literal book of stories Frodo started, and is told by Frodo to “finish it”.

Make of that what you will…

[staridust]

Sunny Day Jack ★ Stari’s Versions

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★ DO NOT USE/REPOST WITHOUT MY PERMISSION. NO MINORS.

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Apologies for the tumblr inactivity, space crew! I’m much more active over on Twitter!

Here’s a simple lineup of Jack designs that I’ll be personally using for myself! I love when artists take a character and add their own personal twists on them, so I’ve done the same to my favorite technicolor clown.

I’ve also seen a few people be interested in two other designs that I’ve done, so I’ve added them to the lineup as well for others to use or to see their full outfits!

—

Here’s a explanation of each design element if you all are interested in that:

Sunnyverse Jack(Left):

Sunnyverse!Jack is my personal interpretation, artistic recolor, and story with him. He is basically a spin-off of the Sunny Time Town AU by JambeeBot.

I wanted his jacket to reflect looking up at a vibrant summer sky, with clouds, rainbow pockets, swirls, and stickers to add to the childlike wonder. His different color suspenders replaces the stripes on his shirt, which is now a sun on the collar!

I’ve personally always liked the idea of Jack’s hair cascading into purple tips, it’s been referenced in many other drawings of mine. Considering Papa Rise also has purple-ish hair, I think it fits!

This design went through a couple sketch phases and some reworks with the most recent showcase being the birthday drawing of Artemis, where this design can be seen in now outdated-concept!

Alternate Outfit (Middle):

Over a year ago, I made a drawing about Jack and bowties, spreading my bowtie propaganda…. And I still am HAHA. Listen, Jack with a bowtie is so cute, So I’m bringing that design back as well as a full ref!

I’d like to say that this is his work or side outfit, but this is not the teacher AU. I did not create that AU, so don’t refer to this design as the teacher AU!

Even though I don’t consider Jack as a rodeo clown, I gave him clown cowboy boots to reference [Redacted] and his southern residence somewhere.

Rainbow Factory Jack(Right):

RainbowFactory!Jack or RF!Jack is an AU I made last year as well, and finally got around to giving you all a full standing ref for him!

He got more attention than I thought, I know a couple of you like delusional men. I get it.

For his hair, aside from the primary highlights, I also changed the coloring to be a bit more muddled and darker on the teal spectrum, as I like to do that when I draw Jack in a not so-friendly manner. His hair is also more spiked, compared to the others who have more of a fluffy round curl.

His coat is very simple, red and yellow stripes down to a cloud border, and the inside of the coat shows a giant sun on the underside. He also has different color rainbow splotches in different places on him!

His eyes can vary in size or be consistent, and the colors of them can change or spiral too! Usually though, the right eye is lighter than the other. His colors are more saturated and darker than the other designs.

Cotton Candy Cupid Jack:

Finally, the last design I have in the lineup is Cupid!Jack!

This is the first custom design I’ve made of Jack. Shared in this post, this was meant to be the Valentine’s Day design I had for him! Though this drawings is extremely old and outdated now for both my MC and art, I decided to carry it on to a proper Cupid AU design for everyone!

He was originally labeled as Cotton Candy Jack in a wip post that keeps getting shared around from time to time, but I’m unsure if I should keep that name for this lover boy now! There was a community cotton candy Jack trend a month or two ago, so maybe I should change the name? What do you all think?

Design wise he parallels the classic Incubus Jack, which I believe was originally a Halloween costume. His design shares similarities on purpose, being the extended body paint gradient and the sheer fabric overlay on the pants.

Almost like an angel/devil duo, Cupid Jack is more pastel, softer/brighter primary hues, has fluffy wings! My goal was to have them be similar enough side by side, but also different enough to tell that they are different themes/holidays.

He has a motif of hearts, ribbons, and sun swirls. His hair gradient is also the most vibrant one, going from cyan to a vibrant pink at the tips.

He has sandals because I thought it fit the whole Cupid vibe, but drawing his dogs out every-time might actually be the end of me.

—

While I will use these personal redesigns, I want to make it clearly stated and obvious that Jack is not my original character, nor are these redesigns an attempt to change his character or completely detach him from his media. There are simply my fun artistic portrayals of him, as I admire his original design, media, and game as well.

The Rainbow Factory and Cupid AUs are technically my AUs. Ship art, written stories, headcanons, etc. of RF or Cupid Jack are completely okay to create! I just ask that you tag me so that I can see what you all do with him!

However, I ask that if Sunnyverse Jack is used, please ask for permission before using his custom design, as it is my own design of him that I use personally.

…and also, I wanna see more MV Jacks! Artists! Show me how you would draw him in your trademark! I love creative expression!

[fandumb-whimsey]

Scarecrow Leg Observations/Headcanons

aka I thought about it too much and now it's everyone else's problem.

(important note: I am not in the medical field and I learned/looked up a lot of this with the help of Dr. Google)

The leg brace seems like a simple detail which can be overlooked in the larger design. On the surface, it's pretty straight forward: leg got damaged and now needs an orthopedic brace to function. This in and of itself is interesting since the artist undoubtedly referenced actual braces, specifically old ones, to fit Scarecrow's aesthetic:

This is a running theme with him; he seems to favor old, antique items and will repair things (like the use of duct tape or zigzag stitching for tears on his costume) before replacing them, which fits an image of someone coming from a background of poverty. Not entirely important to the conversation, just an interesting aside.

There is official material which states his leg is "permanently broken", which is probably the easiest, most succinct way to state this issue, but it's not entirely an accurate way to put it. If a leg is considered broken beyond repair, it's likely to be amputated. Bones which don't heal correctly the first time can be broken again and realigned to heal properly, often through surgery with the use of pins, rods, plates, and/or screws. However, "permanently broken" could also be implying he has suffered irreparable nerve damage which affects the use of the leg (more on that in a moment). One possibility: The bones in Scarecrow's leg do not heal properly due to the severity of his fractures likely needing surgery. Unable to access such resources after his run-in with Croc, this results in a malunion. In his case, the misalignment could be subtle as there is no obvious bend or twist in his leg, but still causes problems which requires use of a brace.

Another possibility: Perhaps he is lucky and his leg does heal well. Maybe there's no malunion at all. Unfortunately, whether the bones mend together well or not, evidence strongly implies that it was broken seriously enough that it damaged his peroneal nerve, leading to muscle weakness and foot drop, which necessitates the use of the brace to function.

If you look closely, you can see there is additional support around Scarecrow's ankle that would otherwise prevent rotation of that joint. You can see this in the game when he circles Batman on the airship:

When he takes a step with his good leg, the foot remains more parallel to the floor. Compare that to the foot in the brace, where the toes point upward with each stride due to being in a fixed position. I feel this is a strong indication of him having lasting damage here (such as foot drop) and part of why the leg brace is vital to his mobility (and undoubtedly one of many reasons why he's so furious at Batman).

Something like this often has trickle down effects. Having to compensate for a weaker limb can throw the body off balance, especially if it's a leg. This can create joint and back pain outside of (or in addition to) the issues related to the initial trauma. Combined with the other things he has had to deal with, there is something to be said of Scarecrow's tenacity. He is very driven and ambitious, even if it's the pure, seething drive for vengeance which causes him to persevere. It's a quality one can admire. :)

The rambling ends here, thanks for reading. And an extra big thanks to a very special someone who, without their help, none of this would be possible...I'm of course talking about my guy KILLER CROC for going absolutely feral in those Asylum sewers, really gave Jonny here a spooky glow-up, am I right?

Pictured: Scarecrow regretting his fear toxin frivolity into the sewers.

[meraki-yao]

This is something I thought of suddenly: So when the Actors-on-Actors roster came out, I didn’t have that much of a problem with Taylor being paired up with Joey King. It was kinda odd to have two close friends who are now doing very different projects put together, but they were happy and watching Joey King fangirl over RWRB was fun.

But now that I think of it, it was such a missed opportunity not to put Taylor with Jonathan Bailey. 

(Gonna preface this by saying I know far less about Mr Bailey than Tay, I skimmed through Fellow Travelers, Bridgerton S2 is on my to-watch list, and as a fan of Wicked the Musical I have complicated feelings about the movie adaptation)

The thing that is so often brought up with RWRB is that it’s a queer rom-com, it’s a queer love story with a happy ending. The relationship itself does not need to be sacrificed. In fact the whole Kensington confrontation is proving exactly that: they are in a position and point in time where they don’t have to give up on their love and relationship for the sake of other aspects of their lives, they can “find a way to love each other on our own terms, no one else’s”. Many people, including the core four of the movie (Matthew, Casey, Taylor, Nick) have said that this is something that made this movie stand out from other queer productions, something that the world needs. 

Fellow Travellers is almost the exact opposite: it is exactly about the periodic queer struggles. It is about the lavender scare when any queer members of the US government were deemed national security risks, and were subsequently dismissed from their stations. It is about the AIDS epidemic that led to the devastation and discrimination of queer communities. It is about a closeted man who chooses to submit himself to a lavender marriage, but who also can’t let go of his one true love. If RWRB is the idealistic future that we’re trying to build, then fellow travellers depict the dirty, gritting, tragic reality of the past. 

And here’s the thing, as Matthew said, both types of queer stories are important, both kinds of queer stories need to be told. We need to acknowledge the bad parts of the past, as a reflection of society, as a reminder of history and the progress made, but we also need to imagine the wonders of a better future, as a target for society, as a vision for the progress to make. 

And it would have been so interesting to hear the conversation on this contrast between the main leads of two very different queer projects. 

Additionally, another thing they can compare is queer intimacy on screen, because again, the intimacy of the two projects are vastly different: RWRB made a deliberate point in creating a more gentle, vulnerable, and quiet intimacy in the Paris scene, with the focus being on the characters’ face; Fellow Travellers’ intimacy is far more explicit and wild, much sexier if you will. Again, both have their place in media and the queer community: sex can be wild and fun, but sex can also be sacred and soft. It would be really interesting to hear the similarities and differences between the two experiences, especially since Taylor has done more explicit stuff in Minx (in a heterosexual on-screen couple) and Jonathan has done more vulnerable intimacy in Bridgerton (also in a heterosexual on-screen couple)

There are just so many parallels and points that the two could have talked about! So although I’m still fairly okay satisfied with the Taylor Actors on Actors we got, this is such a missed opportunity to talk about the importance of different types of stories in the queer community.

[solifloris]

"floral blessings" ; a braindump from yours truly because this card is absofuckinglutely my most favorite xavier card on the face of the planet and i am. going. to talk about it <3

like with all my 5* card "analyses" (but also more like a wordvomit really 😭) this will contain spoilers for: (a) this card itself, (b) the lightseeker myth, (c) the lumiere myth, (d) anecdotes, main story, and world underneath !

[ this is also very long............ you have been warned 🤲 ]

first of all...... MY GOD...... FHSNNFBSJFJSJFK YELLING SCREAMING THROWING UP IM NEVER GETTING OVER THE KINDLED CARD FOR THIS BECAUSE. BECAUSE HELLOOOO??? HELLOOOO???

anyway..................

timeline-wise, the card pretty much implies a very solid relationship between the two, so while i don't know where i'd place it between 21 days and no restraint, it's definitely still after 21 days! but with that said, rather than more focus on their individual development like in no restraint, this one seems to focus more on their relationship as a whole, i think?

overall this braindump won't be as organized as what i wrote for no restraint (i think...) because my brain is still so completely absolutely mush over this card, but i needed to write SOMETHING or i'd explode to smithereens 😭 so nevertheless...!!!! i'll section off a couple scenes so if you want an outline, it'd be something like:

[1] general setup (an overview of parallels); [2] "reunion" (parallels and relationship development); [3] xavier's forwardness (the courtyard meetings, lessons, giving of the mask); [4] day of the festival; [5] the wish

but bear with me;;; there is SO MUCH that goes on here, and i really wish i had the patience and coherency to point out every little thing because holy shit 😭

firstly though, and i just found this really cool, but apparently the flower goddess festival is (was) an actual thing!

from what i've found (and correct me in i'm wrong) it's apparently a very ancient festival that's not widely celebrated these days, so it's not super popular or well-known, but it has many names such as: "Flower Goddess Festival (花神节 huāshén jié)" "Hundred Flowers’ Birthday (百花生日 bǎihuā shēngrì)" and "Flower Goddess’ Birthday (花神生日 huāshén shēngrì)" !!! i couldn't find much information about it though, but it seems that what was in the card such as the flower cakes and the dance really were actually part of the festival~ and i've also seen people say that xavier and mc's outfits feel to be from the tang dynasty, which a lot of people speculate is the time period that this festival originated!

BUT, MOVING ON...

i. general setup — an overview of parallels

i think honestly what's most interesting to me here is how much the overall card mirrors xavier's lightseeker myth so incredibly well. with all of xavier's cards, and how he's grown as a person and how their relationship has developed overall... so much of all of that ties to who he was as a lightseeker, to who he was as the prince of philos. in fact, it goes without saying that lumiere's myth story itself is so bound to the lightseeker myth. because, and i've said this so often and repeat myself a lot with it, lumiere is a direct reflection of the princely persona xavier has grown up with. that the reason he's always been so averse to who he becomes as lumiere is because he essentially channels prince xavier, someone who he's never thought to be truly him, someone who he's been wanting to push aside and no longer be. (i talk about it in my lumiere myth braindumps and touch on it in my no restraint braindump!)

and there's something about that reflection that transfers here, too, because there are two things that all three situations have in common: (1) a position of importance, and (2) a duty to do or fulfil something.

of the prince of philos and heir to the throne, of lumiere as the strongest hunter expected to protect the citizens, of the young master—usually the son of a wealthy family, however, in this case xavier claims he was "adopted" due to his calligraphy skills—with the task of seeing the festival through and teaching the flower goddesses calligraphy.

yet, at the same time, there's something different about the way xavier assumes this role of the "young master":

he's able to say no.

the role is lighter, likely because it's not a true role and, like mc as a flower goddess, he knows that it's temporary—but the way that their first meeting in the courtyard can remind you so much of prince xavier is almost jarring.

it's reminiscent of the very first time mc sees him with his bodyguards, in our most favorite anecdote "when shooting stars fall":

"They aren't clad in all black as one would expect, and they keep a respectable distance away from Xavier. Still, these people exude an air of oppression. Xavier, with his bag, is at the center of their group. It seems he's used to being stared at. The only difference is that rather than being his usual expressionless self, he appears slightly upset."

lt's reminiscent of that time they staged a spar, only for the royal messenger and his guards to interrupt it:

"The royal decree he brought today was related to the future of Philos ... Xavier was taken away by the Royal Messenger. Our duel ended with no clear winner, and the crowd quickly left."

and you can see how his progression grows, from prince xavier, to lumiere, to this role he plays as the young master—if as the prince of philos he had no choice but to follow the path laid out for him until he had enough of it, as lumiere he was more free to choose who he saved and when he saved them. now, as the young master, he's able to say no, sir, something urgent came up. he's able to say right now, i have something that i want to do first.

which, also interestingly, but in the more 'passive' role he played as part of the special task force, he wasn't quite one to say "no" either—though he kept a low and nonchalant profile, he's never outright refuted anyone, even if he might disagree, such as the party gathering or whatnot.

(also, slight segue, but it's notable that he's likely grown into a habit of a little selfishness due to what appears to be some kind of aversion to "serving the people". i do talk a little bit about that here—but it's the fact that (a) all he really cares about is mc, and (b) he likely still doesn't want to fall back into his patterns as prince xavier where he felt chained to think of the people more than the woman he loves. it does bring a little bit of question to his morality, but we know that mc has very much been something like his moral compass throughout.)

but, more than just the ability to say what he thinks and say no to certain things he doesn't put as a priority... he also feels light enough to goof around a little. dozing off/doodling during class, cheekily vying for mc's attention without concern about showing "favor"... something about xavier in this little persona he's taken on is an air of confidence. this was a kind of confidence you didn't see from him as the prince, as lumiere, even as the task force member. and it's not the confidence in his abilities, which has always been there—

it's the confidence in himself.

it takes a certain level of sureness to be able to do things on your own terms, or to be able to voice the fact that you want to.

i believe that throughout the parallels strewn throughout this card with how the setup is, it's this confidence that shines through and really makes things different.

because this time, xavier is different.

he's growing as a person.

ii. the "reunion"

this part of the card had me gasping out loud, i kid you not 😭😭😭 because the parallels really the fuck parallel in here 😭

"The Chen residence is far away. And I can't exactly leave as I'm one of the Flower Goddesses. So, I had to let Xavier investigate himself."

"He said he'd be back after four days. Why isn't he here ... Worried, I sit on the grass and gaze at the night sky. I'm barely in the mood to appreciate the fragrant blooms above."

first of all, the setting very much feels like the meteor shower scenario in "when shooting stars fall", but also...

"Xavier would always leave me like this. At times he joined the expedition team. Other times he was returning to the palace with the Royal Messenger. I'd always ask when he could return. He always returned within the timeframe given to me.Before the Prince entered the Forest, everyone was praying for his safety. At that time, Xavier whispered into my ear... 'Seven days.'"

"He's always lied, again and again and again and again. He said hope would follow when spring arrived. He said he'd take me to the new planet he discovered.He said he didn't want to be King but also refused to let me stand by another's side. He said he'd return when I miss him. He said when I become the Queen of Philos, he'd be my knight. The song he made up is now a reality. Yet as thousands cheer my name, he abandons me... At that moment, a spaceship soars across the sky like a shooting star, disappearing into the night. My footsteps echo in this empty room. No one will be by my side. My star has left me. And this time... he will not return home."

everyone's favorite scene from the lightseeker myth.

while at the same time...

"For some reason, seeing Xavier quietly admiring the nebula, I suddenly feel a wave of panic and instinctively reach out to grab his hand."

^ that's from "shining traces", but only one out of the many examples wherein mc feels as it xavier is someone she could lose at any second—not particularly because she doesn't trust him, but because there's a nagging feeling in her chest that they could be separated for longer than either of them would have hoped to be. after all, it's happened before already, she just doesn't know it. but whatever it was that happened in her previous lives, i've no doubt that the anxiety from back then had likely transferred over anyway.

and this is what this reunion feels like.

a sense of discomfort around his absence, that nagging "what if" he doesn't come back.

but it doesn't stop there—

because xavier does return, albeit very tired-looking (again i'd call this reminiscent of That Moment in "when shooting stars fall" where he brings her the protocore in hopes to keep her from dying).

and more than that, he explains. again, like what happened in the no restraint card, he explains. he doesn't keep things vague on purpose, or makes it seem like he's hiding something from her. he explains, and he takes the initiative to, if only to soothe her worries.

to soothe her worries.

that's an important point.

(and also on a side note:)

HDJJAJDJSJ I HAD TO AND THIS IS A DIRECT PARALLEL TO "No matter how many times it takes, no matter where you are... I will find you." BY THE WAY

anyway......!!!!!!!!! again, it doesn't stop there.

because this scene and this conversation also directly talk about home.

and this conversation means a lot more to xavier than, i think, generally one would realize. mostly because—and i remember kay making a really good point about it here—xavier has gone through a lot to get to where we see him now, and so much of change that he's had to get used to... time traveling so far only to get stuck? the different lifetimes he and the backtrackers would have had to witness this whole entire time?

like i mentioned, our brain's natural instinct is to strive for stability—you can even see it in what we know from our high school biology lessons a la homeostasis. yet, what xavier went through, what the backtrackers went through, is one hell of a shock of a change. it's the kind of change that needs processing, but isn't easy to process, and especially not quickly. and xavier had little to no one to lean on for support, to lean on to guide him through it. the result of which being that, as established even in his earlier cards... change isn't something he likes.

and as also established in world underneath, we know he just simply wants a neat little mundane life with mc.

keyword: with mc.

he doesn't really know what home is, because he has a distorted perception of it—the xavier now, in this moment, still recalls his home planet, the life he has ties to, back in philos. but as he is now, his home is in linkon. and then it comes to the conclusion that the answer is, really truly, neither.

his home is with her.

he says it, this time, explicitly.

it's his declaration that it's okay if things change, as long as he has her—as long as she remains the constant. then change is something he can deal with.

yet, even as he reveals all this to her, the conversation starts with him asking her. the conversation starts about her. and it's she who's able to give the opening back to him, by touching on things like change and belongingness.

"Even in a place this strange, you'll feel like you don't belong. No matter how long you stay ... Am I wrong? l'm sure many people feel safer in a place they're familiar with."

mc isn't a stranger to change, either—she's had a lot of it in her life, specifically the life she lives now as a hunter. the chronorift catastrophe, her family... it's not as if she doesn't know how jarring change can be, and she expresses that here—having to "start again" in a place she's unfamiliar with... it's not easy, and it's easy to feel out of place.

humans are social creatures. we were made to be social, we were made to interact with others. but from that need and that inherent desire (because no matter how small, it's always going to be there) stems the need to belong. a human emotional need to affiliate with and be accepted by members of a group.

this is something that is so prominent in mc that it is a place of solace for her to feel like she belongs somewhere. but this sense of belongingness is something that xavier has NOT experienced for a long, long time. it's only something he's been learning to experience again with her, and the people that surround them in this life that want nothing but the best for them both.

it goes back:

his home is wherever she is.

and i think that it's beautiful that, after hearing xavier's side, mc then chooses to agree with it:

"Maybe... the sense of belonging I have is like yours."

if his home is wherever she is, then her home is with him.

ALSO— while we're talking about this scene... the little banter they have with the flower cake?????? AND THE FACT THAT HE KISSES HER?!!?!?!?! JUST LIKE THAT!!!???!?!?!?!?!! (if you can't tell, i yelled about it)

AND THIS SCENE;?!

—"His eyes are a little red, maybe because of how exhausted he's been lately. Even his blinking has slowed down ... 'I'm a little tired. Can I lie down for a bit?'"

—"Before I can answer, Xavier rests his head on my lap."

DIRECTLY plays out the mutual reliance they have on one another for comfort and rest, because it parallels that line in lightseeking ovsession that we're all familiar with:

"You rest, I’ll be by your side. Always. If you have nowhere to go, nowhere to rest your weary self… you can stay with me."

i think that as much as they have been growing in to their own persons, they're both so closely intertwined, and so much of their love for each other really just pours out all the time.

iii. xavier's forwardness

granted, one thing that's interesting in this is that they do start out pretty tame. there's a little bit of a vague area concerning their relationship at the start of the card, especially since mc seems back into her old habits of starting something and not following through—or otherwise, unintentionally starting something, and then shying away afterwards. she does get noticeably flustered, but she pushes the fluster away... almost as if old habits die hard.

...but xavier, on the other hand, is more consistently bold with whatever he's doing.

there's no hesitation on his part at all, even.

in fact, xavier is the one who initiates most of these things, and doesn't shy away from it. his cheekiness really shines through—he's the one who kisses her suddenly (and for all the other kisses he initiates in the card); he's the one who fixes her clothes, her hair; he's the one playing around while teaching her calligraphy; he's the one who's so eager and unbothered about showing off their relationship:

—"Did we need to hide? Or can the Young Master not chat with a Flower Goddess?"

—"It was going to be awkward... And I heard one of the hosts of this ceremony is the mansion's owner. Since you're an organizer and the Young Master, it wouldn't look good if I was biased, right?"

—He touches the small of my back, which makes me stand up straight. "But you always have special place in my heart."

and:

"Well, I guess everyone knows now. Does this mean I can officially play favorites?"

like he's actually being SUCH a menace i had to pause and take a deep breath

but he's very consistently bold, and it, again, goes back to the confidence that he's gained in himself. he seems a little less of the uncertain, almost shy ish xavier who didn't quite know how to make proper advances... this time, he knows mc is comfortable with his advances, and he gets to play around with that. they're comfortable around each other, to this point that he can be a little more free with his words and his actions.

and eventually, we see mc beginning to reciprocate that again—especially during the festival itself, and in the kindled moments.

which brings me to...

iv. the festival day

i'd specifically talk about, here, the moment before the dance and during the dance.

because it's alao the exact moment that we see mc begin to actually reciprocate and throw back her own advancements—it's the exact moment we have a confirmation that she loves him, that she adores him, that he means so so so so much to her.

and on the day of the festival, we go back to what i highlighted earlier:

he soothes her worries.

the first instance we see this is their little "reunion" that we talked about—it's his very presence, and his added explanation, that calms her down in that moment.

and now is not so different:

—"The most important part of the ceremony, the Flower Goddess Dance, is about to begin. I glance again at the crowd. 'Where will you be during the dance?'"

—"Xavier gently takes my hand that's holding the petal. 'That flower from the roadside will wilt if you keep touching it.'"

—"'I'm just a little nervous.'"

—"'Scared of dancing, hunter? Actually, I got you a gift ... It was meant to be a surprise. But since you're feeling nervous, I figured I should tell you."

—"'That works. Now, my focus has shifted to the excitement about your gift.'"

(which, another side note, but "Scared of dancing, hunter?" had me GASPING because???? the way he teases her in this?! it's so unabashedly him without holding anything back, no coyness about it but he's being a cheeky little shit 😭 i adore him...)

a few things to note here is that out of context, it does feel like a little bit of an awkward way to be comforting someone—yet, it works extremely well. what xavier does here is not provide reassuring sugarcoated words like "it's going to be okay", he distracts her from the problem instead by giving her something to look forward to. which, in this case, is the gift.

interestingly, in a way the 'distracting' is also reminiscent of something he does when he tries to hide something from her—cutting the conversation short when she asks about lumiere, in the lumiere myth asking her to go check on the 'wanderer' so as not to let her see what he had to inject from the ship...

in his lightseeker myth, they talk briefly about his fight with the king, and the possibility of him no longer taking the throne. this conversation proves vague and a little bit one-sided, and in the end he pushes forward the idea of eloping to uluru almost as if to avoid further discussion about the fight itself.

but this time, that's not particularly where he stops: he addresses her question as well, just to find a fallback, an extra little bit of reassurance.

—"'See that tree over there? I'll be standing under it.'"

—"I follow Xavier's gaze. Nearby is a tree covered in red silk ribbons and wooden plaques by the bridge. 'So if I mess up the dance, you'll see everything, huh?'"

—"'I promise I'll forget about them after a good sleep.' His gaze remains on my face, appearing indifferent. Yet I sense a passion about to overflow. 'The only thing l'll remember today is your beauty.'"

FIRST OF ALL. "The only thing I'll remember today is your beauty." A BEAUTIFUL FUCKING LINE, BY THE WAY. IT GAVE ME LITERAL BUTTERFLIES I HAD TO PAUSE FOR A MOMENT. (1) more proof that in the end she's really all he cares about, (2) he's being unabashedly bold with his words again—no filter moment, but zero hesitation, (3) "i sense a passion about to overflow"? he's not being coy about this either, he's saying what he truly feels. he's opening up and expressing himself more, expressing his love for her more, and being genuine about it!

but also, in terms of additional comfort, it's a widely known tactic in states of panic to ground yourself by using your senses to register something familiar: you see something familiar to you, hear something familiar to you, touch something familiar to you, smell something familiar to you. such as, the ground beneath your feet. the air around you, the vague sound of chattering around you, maybe even the touch of your bag, or the fabric of your clothing, the window you know has always been there, etc. panic brings about a sense of derealization, and grounding yourself is usually the first step to calming down.

what xavier is doing now is offering the knowledge to her that he will be there. that she knows exactly where to look for him if she needs to during the dance. she has the opportunity to ground herself with his presence whenever she needs to.

(and again, it's a direct reflection of that line: "You rest, I’ll be by your side. Always. If you have nowhere to go, nowhere to rest your weary self… you can stay with me.")

and it's exactly what she does.

though she ends up enjoying the dance and the crowd does block her direct view of the tree during the dance itself, she takes comfort in the fact that she knows he's there.

she trusts him; she doesn't need to see him to know that he'd there.

and then she thinks something beautiful:

"Engrossed in the dance's rhythm, my mind is strangely at peace. After all, I know there's someone in the crowd whose eyes are only on me."

once again, it goes back—his presence offers her comfort.

the first thing she does once she's received all the flowers is run to him, and he waits for her gladly. like he's always waited for her, like he always will wait for her.

"A lot of people wanted to give you flowers. I couldn't get past them, so I decided to wait for you here. Seems they're quite fond of you, just like me."

a note: the peach blossom

i figured this deserved a section on its own actually, particularly because the whole theme is this whole "flower goddess" thing... and in the beginning, we see mentions of the "goddess of daffodils" and the "goddess of peonies".

yet, we never really truly find out what mc's potentially assigned flower was—

the only mention of a flower that we do see, directly related to her, is when the little kid compliments her hair and places a peach blossom into her basket.

and while i wouldn't know if this means it's her flower or not, but the specific mention of the peach blossom is adorable, because in chinese floriography, the peach blossom represents love.

it's used in a lot of chinese literature and often associated with the arrival of spring—which, "according to the rites of zhou, the middle of spring is a period when men and women fall in love freely." therefore, a lot of chinese literature and poems also allude peach blossoms to romance, being that spring does as well. but, it's also associated with beauty: "after the wei and jin dynasties, beauties were portrayed in a more detailed way with words like taohua mian (peach-blossom-like face) or tao sai (peach-blossom-like cheek)." and there are other things it represents too, like prosperity, growth, and longevity.

when xavier gives mc the hairpin at the end, mc describes it as "pretty and adorned with pink flowers as if they are on a branch", and while not explicitly stated, i do believe that they are also peach blossoms.

whether or not that's the case, and whether or not the peach blossom was mc's flower (or maybe that it's just generally part of the festival), i think it's a really cute detail! i think it perfectly represents their growing relationship, and essentially the beauty with which xavier always sees her~

BUT, MOVING ON.....

v. the wish

the final stretch boils down to this.

"A gentle breeze stirs the wooden plaques hanging from the branches. A faint, melodic sound dances in the air. 'They say a Flower Goddess can bless people's wishes. And if the person making the wish is someone she favors, it's more likely to come true.'"

it's where the kindled moment falls, as xavier proposes for them to make a wish together.

and, mind you, this whole entire scene is ADORABLE AND LIVES RENT FREE IN MY HEAD ... the playfulness between their words, the "if i tell you my wish, it won't come true", the way xavier CARRIES HER??? AND THE WAY HE CATCHES HER WHEN SHE FALLS AND PINS HER AGAINST THE TREE AND AND AND AND.

everytime i think of it i end up keysmashing in my head IT'S JUST SO CUTE i could burn it into my head 😭😭😭😭

but, AHEM, he also says...

"Throughout history, humanity has always made the same wishes. Perhaps it's because those feelings we have... are timeless."

i think it's a really pretty line, but more than how pretty it is, i think it represents xavier perfectly.

xavier has lived long enough, and he's likely also made similar wishes along the way. for mc to be safe, for mc to be happy... things along those lines. and for him to describe that as "timeless" also represents his love for her—because it is timeless. he loves her more than anything else in the world. it transcends space, and time, and anything else; to him, she is love. she is timeless.

it's worth noting that everytime xavier and mc get scenes where they wish together, xavier never really says what his wishes are.

in "when shooting stars fall", mc wishes for many things. for xavier's freedom and happiness, for her to be healthy, for time to stop in their moment together... for xavier's freedom, xavier's happiness, and, in her final moments—"i wish to meet you in my next life." but he's never said explicitly what he wished for at all.

in "warm wishes", mc also mentions a lot of wishes:

"I wished I could pass all my tests with flying colors and go to a good university. I wished for Grandma to be healthy. I wished for my neighbor's cat to come home..."

and her actual wish that night was:

"l wish.... everyone can have snowflakes fall on their shoulders when they're lonely, and see the stars when they're lost."

yet that night, xavier didn't make a wish. he explicitly stated:

"l didn't make a wish. I want to save my wish for when I need it the most. Plus, everything I want right now has come true."

...but this time is different.

he did make a wish.

and, this time around, he specified what it is.

"I wish I can be your sanctuary until the end of time, in your eyes."

this is a wish that's important to him. he chooses to make this wish, and he chooses to tell her about it.

there's a lot to dissect in just one statement alone, because it's so imbued into the xavier that's loved her for thousands of years.... the xavier that has grown and developed into who he is in this moment.

a sanctuary is a place of refuge and protection; a place of safety. a place of comfort. a place of rest.

and multiple times throughout this card, it highlights how xavier has been able to offer mc a certain sense of comfort. even right when the results are announced, one look at him calms her down—this part really got me.

"I glance nervously at Xavier. He makes eye contact with me, and his gaze conveys a steadfast reassurance."

it's a recurring theme in the card—comfort. peace. the peace that you can find in someone. the safety that you can find in someone. in this case, mc with xavier, and vice versa.

...and i've always associated xavier with comfort, but peace and safety have been attributes i've been hesitant to associate with him, because it's different. for you to feel safe with someone, for you to feel at peace with someone, they need to communicate, as well, a certain sense of steadfast reassurance. xavier has always been soft and comfortable, but he hasn't always exuded that steadfast type of aura.

i think that this is something that he himself realizes.

i've mentioned it before, but his wish is also a direct parallel to That Line from lightseeking obsession.

"You rest, I’ll be by your side. Always. If you have nowhere to go, nowhere to rest your weary self… you can stay with me."

yet there's also a striking difference.

what is different?

the person that he's developed into.

prince xavier, lightseeker xavier—as i mentioned earlier, there's a certain kind of confidence in himself that isn't present, and it shows. i would argue that he was at his most vulnerable that time, likely more vulnerable than when they first landed on earth, because he didn't know how to treat his relationships at all. he was too bound by the confines of what everyone, and i mean everyone, including mc at the time, wanted him to be. there was never clear communication with anyone, and it mostly seems as if he's been going through the motions—as opposed to more freedom that he's been granted on earth.

and it shows, because, that line in lightseeking obsession—does not exude confidence.

it's a comforting statement, sure...

but it's not even something that mc herself believes.

"you always lie."

it's as if xavier, as much as he's trying to comfort mc, is trying to reassure himself, too—he tries too hard to make himself appear reassuring to her that it falls short, all this on top of the times that she feels she's been let down by him.

it's ironic, almost. he says such a bold declaration despite knowing that there's a chance he wouldn't be able to keep it.

but this is different.

this time, xavier has grown to he sure of who he is and who he wants.

he said it in 21 days—"every version of me belongs to you, and only you."

yet despite the confidence that he now has in himself, notice how different this is to lightseeker's line—

he's wishing.

and he specifies that he wants it to be true in her eyes.

it's as if he's saying, i'm not sure if this is what you think about me, but i do know that i want it to be what you think about me.

he's not reassuring her; he's not making a bold declaration. he's not saying, you will think of me as a sanctuary. neither is he saying, i will be your sanctuary.

he's saying, i want to be your sanctuary.

the final decision falls to her.

the confidence lies in stating what he wants, and there's no fear in it—there's no hesitation, nothing that implies that he's scared to say it. he's confident in what he says, and either confident that she'll accept it, or confident that no matter what her choice is in the matter it's okay.

that's why this wish is so strong.

and it's mc who then says, at the end;

"I wanted to tell you that your wishes will always come true."

because she reciprocates.

and this whole moment, everything that happens from hereon—the results, the hairpin...

—"'If you meet a Flower Goddess you like, give her fresh flowers. It's a local custom here. But there are many people who admire you, and all of them have given you flowers. My flower wouldn't be special enough. So, I made a flower hairpin. This is the first time I made one, though. Don't judge it too harshly.'"

—"Xavier's hand is warm. Like petals being carried on the wind, his smile descends and touches my heart. 'What makes you say that? It's amazing. Besides, even if you just gave me flowers, they'd be the most special ones l've ever received.'"

it's worth noting that the scene where xavier gives the hairpin is also very much the same way he makes the wish. he does admit that he doesn't know if she'd appreciate flowers—but he takes it a step forward. he knows he wants to be extra special, he knows he wants her to have something she'll remember, so he does something different. he makes, and gives her, a flower hairpin. of his own accord.

it doesn't stop at his insecurities, which he still has—he takes those insecurities and spins them into something he can be sure of himself.

and there it is again.

the steadfast reassurance.

and it's what makes the moment so much more memorable to mc, so much more meaningful.

and it's why, then, he can say things like this:

"No matter what happens, I'm always blessed to have someone by my side, who makes my gaze never feel alone."

"Forever is but a collection of moments strung together. With every minute comes another, second after second. When I open my eyes again, I want you to still be by my side."

it's in a way wherein xavier is able to take some lead in their relationship, because he's more sure of himself this time. and it progresses their relationship in a way that it wouldn't have if he never learned—he's learning. he's growing. and he's really truly turning out to be someone that can love with his whole heart, without holding back.

i think this card showcases that the most, and maybe that's why i love it so much <3

ALSO, P.S., ONE MORE PARALLEL—

xavier says that the flowers are blooming beautifully this season—"it smells like spring". in his lightseeker myth, he says: "With spring's arrival, hope is soon to follow."

and its just a neat lil thing, i think <3 spring is always so closely associated with xavier, and the card really does end on such a light and hopeful note.

[raining-its-pouring]

Not a Pebbles hater not a Pebbles lover but a secret third thing.

What he did he did out of complete and utter desperation. There was no noble intent, there was no malice, there was just the need to get out. To break the cycle he was trapped in, damn the consequences. Of course he acted rashly when he thought he found the key to ascending. (Not dying, mind you, he wanted to use the state of death in the cycle to tap into ascension. He didn’t - necessarily - want to die, but it was, in his mind, one of the necessary steps for iterators to take if they wanted to ascend.)

To be clear, there was no evidence that it would work. Just the speculations of a bunch of desperate people trying to escape a thankless situation. And Pebbles was so desperate he was willing to gamble it all, including his and Moon’s wellbeing, on those speculations.

On a slightly different note I do think there’s a weird snobbery that people have ABOUT rain world weirdly? That there’s this idea that applying real world stuff like suicide and whatnot is stupid bc this world is intentionally alien. But while I think Ascension isn’t death, I think the ideology of both the Ancients and the Sliverists can be seriously read as an allegory for depression and suicide.

We don’t know what Ascension is. I think far too many people write off that it’s inherently bad, when no where in canon is that a given. But we don’t know if it’s inherently good either, that’s just a desperate hope of the Ancients and Five Pebbles. They hope that whatever the next step is, it won’t be the living hell they seem to be in here.

My interpretation is that it’s just another step. It can be whatever the individual (if there is still a sense of identity to retain,) makes of it, and that happiness isn’t an inherent factor of it, but neither is unhappiness.

And that’s where I think the allegory can apply really well. Five Pebbles and the Ancients (at least the ones who left the biggest impact behind) are deeply, deeply unhappy. And I’d argue for good reason - theoretical immortality sounds, in my opinion, awful.

But Five Pebbles is one of the youngest iterators we see. Moon is one of the oldest. She seems to be content with her situation. And perhaps this is her folly - and I’d argue it is, a little - but I’d also argue that Five Pebbles does not try many other alternatives (that we know of) before deciding the problem is this stage of the cycle itself. That it’s out of his hands, because this existence- this stage- must be an inherent unhappy one. From there it’s not the biggest leap to deciding that the answer is to force his way into the next one as soon as possible, without seeing if he can carve a space for himself in this one. And I think that’s a very real parallel to a lot of people with suicidal ideation.

I think it also has something interesting to say in that regard. There’s a lot of argument around depression and suicide, specifically around “if the situation is bad enough and there’s no end in sight, how much does ‘changing your thinking’ really help the situation?” To which there is near endless debate. And to which I think the iterators situation is an interesting (and deliberate) wrinkle in the allegory tying into that.

It’s just one reading of it, and I think there are many more. But my point is that there is a very real, very canon-based reading there. And I’d like it if people stopped acting like it’s a misrepresentation of the text.