#now tell me why this parallel just hit me

[lila-kriegerin]

OMG, OP!

I was just about to suggest "Now & Then "

but I saw it in your tags.

I'm so sorry this may look like an unhinged rant no one asked for, but someone has to tell people younger than me what I know, so I spent 2 hours crafting a reply/follow-up/addendum to you post, OP. Please forgive any formatting errors. I tried to keep things simple and engaging but a few things may look a little bit odd depending on what sort of device you're viewing it on. I couldn't take the risk of making all the text too small

https://www.youtube.com/watch?v=RQLVzTtt2Ws

The biggest problem trying to find similar films is that they often involve at least two of the girls having some kind of relationship to boys causing drama (I'm looking at you, "Sisterhood Of The Travelling Pants "... and others) whereas a film like "Dead Poets Society " is definitely in that pseudo-homoerotic and explicitly homoerotic range of storytelling.

Why do you think "Little Women" was popular for so long? It was the 1oth century literary equivalent with the requisite brush with death and loss so common to an era before even antibiotics existed... and loss and grief still happen today.

It's true that so few are like "Newsies " and "West Side Story ", but DON'T sleep on hits like "Annie" &

🥁 drumroll, please 🥁

Want to guess what was the first obviously gay song featured in a film from Hollywood (after the Hayes Code)?

The First Gay Anthem: Calamity Jane's 'Secret Love'

It's not "West Side Story " because it's a western frontier musical, and they skirted the lines as hard as they could to have a nice Christian young woman fancying a "tomboy": Calamity Jane (who by historical record seems to have favoured women and men).

Though based on American Western folklore, this premise clearly imitated the successful 1950 film version of Irving Berlin's Broadway musical Annie Get Your Gun, about Wild West sharpshooter Annie Oakley.

But instead of a make-over, Calamity Jane gives its tough-gal heroine a powerfully symbolic pistol; her masculine aggression plays with sexual identity through gestures enlarged to the point of farce. And then it goes deeper--into emotional confusion that grows from Jane taking on supposed male habits. Doris Day brings comic overstatement to Jane's complex repression of her own instincts. Like many a closet case, she exhibits a self-defeating willingness to fit into a male-dominated culture. Her tough mannerisms are also designed to protect her hidden, vulnerable emotions.

You have to dig.

Dig deep, and be willing to watch a film with a different spoken language and culture, but there are some parallels.

Consider the Britney Spears film, which I believe is called "Crossroad(s)" in English. [Sorry, I don't have time to look up the title.]

Now— what if there were a film that's something a bit like a lesbian equivalent?

Touch

A Chinese movie produced/sponsored by the sapphic dating app Rela. It follows three girls on a road trip. Chinese language with English subtitles.

I've never, EVER seen any website draw direct comparisons to other films that way, such as:

If you loved "She's The Man" but want it more sapphic (though ultimately thwarted by the producer), you can't miss "Bend It Like Beckham"!

The photo which was posted by OP DOES contain valid points!! (No one is going to treat you "like a man/boy" unless they truly think that's what you are, and society DOES socialise people differently, so: how would a group of teenage girls or very young adult women ever have experiences identical to those in a film like "Dead Poet's Society"?)

Nevertheless, there are some similar films that are comparable:

"Superbad" — "Booksmart".

I decided to hyperfocus trying to think up some equivalents to "Dead Poet's Society".

Here's a quick comparison I spent far too much time on:

If you’re looking for a Dead Poets Society equivalent with mostly female characters, a few films capture that same blend of deep emotional intimacy, artistic passion, and repressed desire. Here are the best contenders:

1. Mädchen in Uniform (1931 & 1958)

This is the OG queer boarding school drama. Set in a strict Prussian girls' school, it follows a young student, Manuela, who falls in love with her teacher, Fräulein von Bernburg. The film is explicitly homoerotic in a way that Dead Poets Society is only suggestive of—there’s longing glances, whispered affections, and a stifling environment that tries to crush individuality and desire. Like Neil, Manuela faces tragic consequences for daring to express herself.

Cracks (2009) — If Dead Poets Society were darker and more explicitly about queer desire, it would be Cracks. This film follows a group of girls at a remote British boarding school under the spell of their charismatic teacher, Miss G (Eva Green, in all her seductive, unhinged glory). When a new student arrives, power struggles and hidden obsessions unravel. It has all the repression, poetry, and tragic queerness you could want.

Heavenly Creatures (1994) — Peter Jackson (yes, Lord of the Rings Peter Jackson) directed this feverishly intense drama about two schoolgirls in 1950s New Zealand—Pauline and Juliet—whose bond becomes so consuming that it leads to murder. Like Dead Poets Society, it’s about breaking free from repression, but it takes a much darker turn. The homoerotic tension between the girls is undeniable, and the fantasy world they create as an escape mirrors the way the DPS boys use poetry to carve out their own space in a suffocating environment.

Picnic at Hanging Rock (1975) — This one’s all about atmosphere—a haunting, dreamlike film about a group of girls at an Australian boarding school who mysteriously vanish during a picnic. While there’s no overt romance, the film is full of lingering touches, dreamy stares, and a pervading sense of longing and repression. The rigid Victorian setting and the contrast between the natural world and societal constraints make it feel spiritually connected to DPS.

The Falling (2014) — Starring Florence Pugh and Maisie Williams, this film is weird and hypnotic. It’s set in an all-girls school in the 1960s and follows a mysterious fainting epidemic that spreads through the students. It has the same themes of teenage rebellion, deep female friendships that tip into obsession, and an oppressive institution trying to crush individual expression.

Céline and Julie Go Boating (1974) — This is a more whimsical, surreal take on female friendship and creativity. It follows two women who fall into a bizarre, looping story in a haunted house, constantly re-experiencing and altering the narrative. It has a Dead Poets Society vibe in the sense that it’s about escaping rigid reality through art and imagination, but with a queer-coded, magical twist.

If you want the closest equivalent to "Dead Poets Society"...

..."Mädchen in Uniform" or "Cracks" are your best bets, and Cracks more than Mädchen in Uniform

because the latter is so old fashioned that to further scandalise viewers they paired a teacher with a student.

If you want something more poetic and atmospheric, "Picnic at Hanging Rock" or "The Falling" will scratch that itch.

If all of that is too gay for you (gofuckyourself, tee-hee)

You really, REALLY should try

"Mona Lisa Smile".

(...and if it's not too gay for you, then go watch CRACKS right now!)

"Mona Lisa Smile" [hereafter referred to as MLS] is often called the "Dead Poets Society" [hereafter, DPS] for women, and yeah, it certainly hits a lot of the same beats—

an outsider teacher inspiring students to challenge societal norms,

a prestigious school that values obedience over individuality, and

a group of young people grappling with expectations that threaten to suffocate them.

Where DPS is about breaking free through poetry and self-expression, MLS is about that sort of thing tosome degree, but more about feminism, gender roles, and the fight for intellectual freedom in a world that wants women to be just wives and mothers.

Similarities to Dead Poets Society

The Inspirational Teacher as a Catalyst for Change

In DPS, John Keating (Robin Williams) shakes up Welton Academy’s rigid, tradition-obsessed environment with poetry and passion.

In MLS, Katherine Watson (Julia Roberts) does the same at Wellesley College, using art history to challenge her students’ pre-ordained roles as perfect housewives.

Both teachers are NOT merely instructing— they’re awakening their students, making them see the world differently, and often doing so in ways that put them at odds with their school’s administration.

The Oppressive Institution and Its Ideals

Welton Academy is a suffocating prep school that values discipline over creativity, much like Wellesley College in the 1950s. They outwardly promote academic excellence but ultimately groom women to become ideal wives. (T_T)

Both films show how these institutions uphold deeply ingrained traditions that resist change, even when it's clearly needed.

Both films show some of the human cost of trying, and giving up.

A Group of Students at a Crossroads

Just like Todd, Neil, and the rest of the DPS boys who struggle between expectation and their own desires, the young women in MLS— Joan, Betty, Giselle, and Connie—each navigate their own battles between societal pressure and personal ambition.

Joan (Julia Stiles) mirrors Todd.

Betty (Kirsten Dunst) is like a mix of Cameron and Richard from DPS.

Giselle (Maggie Gyllenhaal) is the Charlie of the group.

The Tragedy of Repression

DPS’s tragedy is clear: someone's dreams are crushed & there is a heartbreaking su*c*de [all the trigger warnings apply]. MLS doesn’t have a singular moment that tragic, but its heartbreak is quieter—seeing some brilliant young women choose societal expectations over their own ambitions because it feels like the only option... that is definitely going to haunt some people more than it may haunt white cis-hetero male viewers.

In both films, someone (one you probably like most of all, in both films) will have something horrible happen to them by their own choice, and that is very haunting.

Additionally, I dont think it's too big a spoiler to say oth films end with the teacher leaving— but to say why would spoil the endings of the films.

The last scenes mirror each other emotionally: in DPS & MLS, a quiet, bittersweet goodbye with both endings suggesting that while the teacher is gone, the ideas they planted will live on.

Key Differences

The Central Conflict

DPS is about breaking free from repression through art and poetry. It’s about passion, self-expression, and the fight for creative freedom.

MLS is about that too, though with more of a (*cough*white*cough*cough*) feminist focus on gender roles, feminism, and intellectual independence to have intellectual and self growth as an individual— and it asks whether women can truly be free when they’re still expected to conform to outdated expectations.

Homoerotic "Sub"text

[be honest: if you miss it in either film you're in denial or unobservent and that is your own journey you need to take]

DPS is filled with homoerotic tension, especially between Todd and Neil. The intimacy between the boys—the longing glances, the whispered poetry, the emotional weight of their friendships—feels deeply charged.

If you DEMAND that level of queerness, MLS ain't it.

MLS has some queer subtext, particularly with [one character], who is coded as more fluid in her sexuality, but the film doesn’t lean into that as much as DPS does because it's focused more on the pseudo-historical narrative from the book upon which it was based.

Don't forget that DPS came out to cinemas...

THEN "The Craft" did,

THEN "Cruel Intentions" did,

THEN MLS.

DPS was intentionally pushing boundaries of censors for queer story-telling when the USA was still afraid for gay people to peck each other with a little kiss on the lips on television before 10 PM.

DPS ends in a tragedy that reinforces the cost of defying the system— [spoilers redacted], and the boys are [narratively] left in a state which leaves the viewers feeling a bittersweet limbo.

MLS is perhaps a bit more hopeful; and although the school seemingly remains unchanged, things in that world have definitely shifted for the characters.

Their worlds aren't fully transformed though for MLS, it’s beginning to open up, but MLS leaves viewers with their own bittersweet limbo like DPS[-lite] with a sliver of a dash of hope.

Final Verdict:

"Mona Lisa Smile" is "Dead Poets Society" through a differing feminist lens.

It swaps poetry for art,

an all-boys school for an all-girls college, and

queer-coded male friendships for female students fighting for their intellectual freedom.

It has the same spirit—

a teacher who inspires students to think for themselves, an oppressive institution trying to maintain order, and young people wrestling with societal expectations.

However, where DPS is a tale of tragic repression, MLS leans toward quiet rebellion— not a fiery "O Captain, My Captain" moment, but a slow, steady push toward change.

just saw this on pinterest and it hit me like a truck

[theclownghoul]

Gratuitous

Opinion piece & analysis

I really hate how Jinx’s suicidality is portrayed in S2, largely in Act lll but we’ll talk about all of it.

In S1 we have about three moments (by my count) that show Jinx harming herself or trying to end her life. Hitting herself in episode 3, being careless with the staples in episode 7 and pulling the pin on the bridge also in episode 7. There is also a line she says to Vi “You’re the reason I’m still alive” in episode 9 which given other things she says in that moment could be interpreted as other ideations.

What makes these moments different from S2 episode 9? Well none of the three main writers were credited to those episodes other than the dialogue in S1 episode 9. Most of them are communicated through animation only. They also just feel different, they’re vulnerable, other things are the focus and her doing these things is just a reaction to those feelings. There was something to get from the scene besides a showcase of her pain.

Episode 9 of S2 is not that. It’s gratuitous, it’s a spectacle, it’s gory and somehow losing all its impact. There’s the music which is not what I’d call tasteful or subtle. It’s making an impression, wants to force a feeling or reaction. Make you sad or horrified and oh, I was horrified but not the way they wanted.

Even the way she digs her nails into her cuticles in S2 episode 8 isn’t really meant to show us anything about her. It’s meant to affect the audience.

In comparison I almost appreciate how people have read her pulling the pin in S1 episode 7 as trying to manipulate or take Ekko out too instead of being a completely clear cut attempt. Because it at least shows that there is enough going on with the character’s mindset that we can speculate on her motivations and how she’s reacting to all the emotions that came from fighting her old friend. If you look at her face it’s sadness and regret (S1 is also better at story through facial expressions since there was forethought). You’re free to have your own reaction, not the one that’s set out for you.

I have mixed feelings about her fight with Vi now and telling Vi that she’s okay to go out by her hand. It feels closer to the moments in S1 than later in episode 9. There’s more going on, we’re meant to consider multiple layers of both her and Vi’s feelings in the moment. It’s a non explicit parallel to the Bridge and does show a pattern of behaviour. It’s also not credited to any of the main writers.

The scene from the opening of episode 9 as a whole, is it romanticization? Heard differing opinions on this and I honestly don’t know where I stand. One one hand it shows how empty she feels and how everything has come crashing down despite trying and it communicates her emotions through the images and music. On the other the scene is meant to be visually appealing while also showing her detonating the bomb very explicitly, like you see her blood. I’m sorry but this is some 13 reasons shit. None of this is helped by the fact that Isha was killed purposely to get her in this state.

I had way more emotions about the actual story in the scene with Ekko in S1 and the scene with Vi in episode 3. Originally I liked this scene but I just can’t really remember why exactly, especially when compared to the earlier ones. The other scenes aren’t lacking in any way when it comes to showing her despair so I’m lead to believe it’s a stylistic choice in line with S2’s music video focus.

Then there’s Ekko… what did he do to deserve this? I’ve said before that if he had to he would save her but the reason he had to was because this scene sounded like a good idea. Saw someone say why is it his responsibility to save her and yeah why? He’s her romantic interest? Not from her perspective at this point and that’s a terrible reason anyway. Not only are we shown her blowing herself up in detail, being inflicted with it but he also has to see that, multiple times. Please don’t make me think too long about it… then we don’t see what actually changes her mind and actually see their bond. That also doesn’t give me a lot of faith is what they think is important to show.

Then she sacrifices herself at the end to “break the cycle” which no one is actually clear on what is meant by that and the same damn song is playing. It’s weird.

I’d like to compare it to the Poison sequence from Hazbin Hotel since that scene faced backlash for “romanticizing” abuse specifically in that scene. If I can describe what makes Poison not exploitative and what makes Wasteland so then I can safely say they are different and there is something deeply sinister about Jinx’s scene.

Poison benefits internally, inside the context of the story from being visually appealing and pretty. That tells part of the story in and of itself and eventually it cracks, mirroring how Angel feels in the scene and in his situation.

Wasteland benefits externally, it’s done for the audience as I’ve been saying. There is nothing about Jinx’s mindset or actions that we get a better insight into from the stylistic choices. We know “she loves a spectacle” but that’s the only internal explanation that I could make. Even if they wanted the cutting of her hair and the burning on the last drop but the framing could have easily been different.

Think about the staple scene for contrast, it has no interest in being something other than what it is, brutal and disorienting, just as she is feeling in that moment. Jinx would behave that way whether there were “eyes” on her or not. Poison is the same, Angel “performs” to keep his thoughts at bay regardless of an audience. Wasteland only exists in its current form to entertain.

The final “sacrifice” also falls into this, solely focusing on eliciting a reaction from the audience and making a spectacle of sadness. There is no resolution to Jinx’s earlier conversation with Ekko, we don’t see her reflect, we don’t see a change. We have no reason to believe she’s in any way in a better place. Her decision to give her life for Vi’s isn’t particularly fleshed out and this as a conclusion to her arc is bizarre at best and offensive at worst, suggesting she had to remove herself from her loved ones lives, something she simultaneously feared and was tempted by.

I probably shouldn’t feel the need to make such a caveat but I am aware that the could be a matter of preference when it comes to how scenes like this are portrayed but the way this scene was done continues to strike me as odd. I can’t help but think it maybe intentionally or unintentionally is playing into the “sacrifice” message where, it may be a sad thing but Jinx had to die. And that’s a horrible thing to say.

[stillgotscars]

“no amount of vintage dresses gives you dignity” // “so dignified in your well-pressed suit”

[nostalgia-tblr]

i nearly anon'd the thorki non-con fic out of SHAME but in two weeks it's become my third most clicked-on fic of the year, behind only a multichapter fic and a bit of angsty sifki porn lololol

[sysig]

DAAAAAAAAAAAAX <3 <3 (Patreon)

[thats-a-lot-of-cortisol]

2 & 3 from section 1 for peri and 7 from whichever section has a more interesting #7 for diodore -moss

oooh these are fun ones!

2. Describe their tent set-up (outside and inside) (Peri)

I think Peri's tent is constructed similarly to Gale and Astarion's (boxy, fabric walls, little covered area outside). Deep blue fabric w/ golden astronomical embroidery, mostly the sort of thing you see on star maps. Little golden tassles around the edges of the tarp (?) and the doorframe. He'd have a small, circular, dark wood side table short enough that you can use it sitting on the ground, and a dark blue pillow next to it; there would be some parchment and a bronze miniature astrolabe on the table. The inside would be just. full to the brim with the gaudiest night-sky-themed pillows you've ever seen. No bedroll, no palette, just a nest that would put those cube pits in trampoline parks to shame. There would be two bird perches for his familiar Medani: one taller one next to his tent and one shorter one under the overhang. The shorter one would have a crow-sized bow-tie hanging from it. Rugs on rugs on the outside area ofc. 3. What would their character quest be titled? Why? (Peri)

This is a hard one! His tav ending involves taking over the Waterdeep arm of the Harpers, so I think his arc would have something to do with that. He'd be pretty bitter about being dropped into another near-apocalyptic mess when dealing with the last one a few years prior was supposed to be a one-time thing. Something-something ptsd in a world that doesn't have the words for that yet, something-something 'once a hero always a hero', something-something the weight of responsibility...he's a planeswalker so I think part of it would be whether he decides to stay on Toril long-term and directly help rebuild the Waterdeep Harpers or if he continues to run travel around afterwards, so maybe The Far Traveller/The Far Walker?

Harpson/Fae-son are also potential options. "Fae-son" nods to him being a changeling without it being super obvious (like Astarion's "The Pale Elf"). It would also mimic his backstory reveals from RoT ("oh he's not 'from here' so, like, the Feywild" -> "OH he's not from here"). 7. Describe their arc. How would a player help resolve it? What choices can be made? Can your Tav be turned down a dark path, or pulled to a lighter one? (Diodore)

Buckle up because we're in for a long one here. I've thought about Dora's story arc a lot because she's the first of my tavs that I truly made for the game while having full control over her backstory, etc. (versus Corentin, who had their arc baked into the story as a durge). Dora's a paladin of Corellon (oath of ancients) and her story arc as a companion would have to do with whether or not she should accept capital-r-Redemption, the process by which a drow can be truly "freed" from Lolth and rejoin the ranks of the rest of elven society. It involves all of the Redeemed drow's memories being erased and them being reincarnated as a surface elf. The implication seems to be that without that, regardless of a drow's actions, they'd be thrown back to Lolth when they die? Or at least that their eternal fate is unknown (which is the way I prefer to think of it for. personal reasons). Under normal circumstances, Dora would be a long way from Redemption being presented to her at all (she's not even 200 yet and has only been on the surface for a couple decades), but like with the other gods' Chosen among the companions, near-apocalyptic circumstances tend to speed up those sorts of things.

Of course, you'd have the themes of faith & relationship with deity when they're all unequivocally real and are also mostly all assholes; maintaining or breaking generational cycles; facing the unknown; morality when none of your choices are "good" (and how that interacts with morality vs self preservation); power vs freedom; identity outside of the people who made you; etc. The choice would first be presented to her sometime in late Act I/early Act II, likely the first long rest after the group resurfaces from the Underdark and you've probably gotten some of her backstory already. I have no idea how Larian would have characterized Corellon, but he's considered one of the more benevolent/open-minded deities iirc, which could be interesting to see contrasted with Mystra, Vlaa'kith, and Shar. How much that open-mindedness would extend to a drow, even one who has been a faithful follower even before she escaped to the Surface (and who inherited that faith from her father), is unclear. At the beginning of the game she would be leaning towards accepting Redemption, despite her own misgivings about whether or not she would still be her in that case.

Her final decision (at the ending pier scene) would depend on the relationship she has with the PC and the other companions. Her best ending, imo, would be her not accepting Redemption but continuing to be a force for good. If she has a good relationship with the PC, she would have something to lose. I think seeing the House of Mourning would affect her too. After all, the thing Corellon is offering to her as a way to find peace is the same thing the Sharrans are using as a way to manipulate and control others.

She's viscerally aware of how she was socialized and very actively chooses "good", so pushing her towards a darker path would be incredibly difficult but not impossible. If you side with the goblins she'll leave immediately, and turn on you if she's in your party when you attack the grove. But if you decide to try and control the cult in Act II, depending on your over-all actions before then and how you've interacted with her, you could disillusion her to the point of convincing her to break her oath. That path would entail convincing her that controlling the cult is actually the best idea. I'm sure there would be other times that her oath could break that wouldn't necessarily lock her into an "evil" path, especially with how Oathbreakers are handled in the game. Knocking out Minthara instead of killing her outright and letting Auntie Ethel go in Act I instead of killing her are two things that come to mind.

If she doesn't choose Redemption she would be at the epilogue party, of course. I'm a bit undecided on what would happen if she does choose Redemption. She may not be there at all, w/ Jaheira, Halsin, Minthara, and/or Astarion mentioning running into her in her new, reincarnated state. Or she would be there, confused, and mention how the PC seems familiar in a way she can't quite place. In that case, she would ask them how they know each other and mention something about feeling a twinge of grief looking at everyone, but that she doesn't know why she feels that way. It would be up to the PC how much they tell her (if they tell her anything at all).

[samthestrangerthingsfan]

Pairing: Eddie Munson x Reader

Summary: friends-to-lovers, mutual pining, lots of parallels, reader is a lil down on herself but don't worry, eddie is down bad for her.

Warnings: swearing, mentions of weed and smoking, smut!! 18+, minors DNI.

AN: do i write 90% of my fics based on what pops into my head when i hear a certain song? yeah. also this is only half edited bc life. enjoy bbs <3

“Okay, okay,” You laughed. “One more hit then I’m tapped out, Eds.”

Eddie grinned, speaking through a half-held breath. “Oh no, Sweetheart. New stuff hittin’ a little too hard?”

You inhaled deeply, passing back to him what was left of the joint. It went straight to your head, and you flopped back, laying comfortably on Eddie’s bed.

Eddie inhaled, following suit, making your body bounce as he hit the mattress.

“Shit,” he mumbled. “Feel like I’m fuckin’ flying.” He grips your hand, intertwining his fingers with yours. “Don’t let me float away, okay?”

You smile at him, taking in how fucking beautiful he looks under the dim lights in his bedroom.

“Never. You’re stuck with me, Eds.”

He looks down at you, a smirk pulling at the corner of his mouth. He took you in like he'd done 100 times before. Eyes trailing from your nose, to your eyes, landing at your mouth.

So fucking beautiful.

“Good," he breathes, pulling you in closer. "Just the way I like it.”

Eddie let go of you hand, only to wrap his arm around you and pull you into his chest. He placed a kiss to the crown of your head, "This okay?"

It's all I want. You think.

"Or do we have to get up and go watch that cheesy chick-flick I promised we'd watch.

You sighed, fiddling with the hem of your denim skirt. "I'd stay here all night if you let me."

That's all I want. He thinks.

Eddie leans back a bit, looking down at you. He's not sure if it's the weed making his so emotional, but he swears he could cry just looking into your eyes. "What am I gonna do if one of these dates you keep going on works out? What if someone takes you from me?"

He tries to sound relaxed, but the truth is, the thought keeps him up at night. There’s gonna be a guy that steals you away from him one of these days. Someone who can give you everything he can’t, someone brave enough to open their mouth and tell you just how much they love you.

and it'll crush him.

The laugh that escapes you is a cynical one, "Eddie, I've been on three dates with three different men, and I've gone home alone each time."

"So?" He asks.

"So," You scoff. "It means no one is interested in doing anything with me."

It’s true—to you at least. The guys you’d gone out with were either not looking to be tied down, or ran once they met you. The last guy thought you’d be easy because ‘the freak’s best friend has to be a freak herself right?’

The dates were a distraction for you. As your heart pined over the one guy you could have it all with, it was breaking too. Eddie hadn’t made a move on you—ever, and you weren’t brave enough too.

So the two of you sat in limbo, completely unaware that the other person was right there with you.

Eddie sits back, releasing you from his arms. "Why do you do that?"

"Do what?" You ask, sitting back as well.

"That. Act like you're the problem, and not these shitty fucking dudes you keep going out with.” Eddie tried to control his tone, but his temper got the better of him. He cursed at himself for it.

Jesus H. Christ, Munson, get it together.

You push back from him fully now, "Eddie, the common denominator is me. I-I'm fucking broken or something."

“Stop that.” He seethed.

It’s a command—a tone you've heard him use with Steve, or Dustin, but not you.

Never with you.

Eddie stood as you sat up, hanging your legs off the edge of the bed.

"What--"

He turned back and got to his knees right in front of you.

“Stop talking about yourself like that. It’s fucking ridiculous.”

He was close to you, and with him on his knees, his gaze was just at your eye level. “You’re not broken. There's nothing wrong with you, you’re—you’re fucking perfect.”

“Eddie…”

“No, no, just…just shush for a second.” Eddie moved his hand to your cheek, his thumb sweeping across it gently. “You think all this shit about yourself and it’s just not fucking true. I wish, for a second, you could see yourself how I see you. I fucking adore you.”

You feel the warmth of his breath on your nose. His large hand on your cheek warms you, and you lean into the touch, closing your eyes.

Everything is Eddie in this moment. He’s invading every sense you had.

It’s overwhelming.

You can feel your eyes brim with tears. “You don’t have to say that, Eds. I’m okay. I’m just…I’m lonely, that’s all.”

Eddie’s breath caught in his throat. He watched you, he saw the tears hidden beneath your lashes. How could you not see it? See how you were…everything to him?

His mind stopped for a moment, deciding whether or not to take the leap, to risk it all and not run for once.

Fuck it.

“I’m right here, Princess. I’ve been right here.” He leans his forehead on yours.

You exhale his name, “Eddie,”

“What,” he’s quick to ask. “What is it, Sweetheart?”

Your on fire with how close he is to you. But he doesn’t mean it, not in the way you hoped he would…does he?

Your eyes open, seeing his beautiful brown ones searching your face for some kind of clue as to what you’re feeling. You clasp your hand on top of his. “Please,” you beg. “Please don’t say things you don’t mean just to make me feel better. My heart can’t take it.”

He laughs softly, bringing his other hand up. He’s cradling your face gently, “Oh, Honey. You have no idea just how much I mean it.”

Eddie is overwhelmed with you. You’re everywhere, and he can’t fucking think straight. Probably a good thing right about now, because he’s about to do something he never thought he’d be lucky enough to do.

“Can,” he clears his throat. “Can I kiss you, Baby?”

With zero hesitation, you nod, earning a chuckle from Eddie.

“Gotta use your words, sweet thing.”

“Yes,” it comes out as a plea. “Kiss me...please.”

Warm warm warm.

It’s all you feel when he leans in. Then his soft lips are on yours, all the while he’s holding you as if you’d be the one to float away.

Eddie kisses you like he’s done it a thousand times. Like he knows your lips and the pattern that drives them crazy. He’s trying to tell you everything he’s been too afraid to say since the moment he met you.

There’s no one but you.

You’re everything.

I love you, please, let me love you.

Regrettably, you pull away. Breathless from the kiss, but also how surreal this moment is.

“I-I,” you sigh, touching your forehead to his. “I’ve wanted to do that for forever.” It comes out as whisper. As if you’d scare him away if you said it too loud.

Eddie smiles, a relieved laugh passing his lips. “Yeah?”

You nod, “Yeah.”

It’s quiet for a beat, Eddie is looking at you so softly and with such care.

“You’re so beautiful.” He says with all of the conviction in the world. “My pretty girl.”

“Am I?” You ask. “Am I yours?”

He nods, "If you want to be." He moves his hands, resting one on each thigh. He rubs them absentmindedly, likes he's trying to flatten the goosebumps that had prickled across your skin. “...and I’m yours. You've got me, Honey.”

Eddie's grin was still a shy one. You brush your hand across his face, pushing back any stray hairs. "Eds?"

He grips your wrist gently, placing small, tender kisses along the inside of it. The gesture is so simple, but it sends a heat through you like you've never experienced before.

"What is it, pretty girl? Whatever you want, whatever you need...it's yours."

You intertwine your fingers with his smoothly, "You, Eddie. Need you. Wanna make you feel good, Eds."

Now it was his turn to get goosebumps.

"Fuck, Angel. You can't just say that to me." He breathes.

Your bedroom eyes blink twice, "Please?"

A strangled moan vibrates from his chest, "Who am I to deny the fair maiden what she asks for?" Eddie stands, holding out a hand for you.

You're pulled to your feet by him, and he's looking at you through a brand new set of eyes. "One problem with that though, Princess. You come first."

You gasp as his hands take purchase of your ass, pulling you into him. "If anything, and I mean anything is too much, or too weird, you tell me, okay?"

You're nodding again, and he tuts at you. "Uh-uh. Words, baby."

Your arms fall around his neck and you press your body against his. "Yes, sir."

"Ho-ly-shit." He moans. "Yeah, I'm gonna kiss you now. Cool? Cool."

He's hungrier this time, kissing with teeth and tongue as his roaming hands explore your body.

"Eddie, Eddie..." You breath through swollen lips. "Too many clothes."

"You a mind reader or something?" He jokes, ripping the t-shirt from his body. His body was a work of art in more ways than one, and seeing it now, like this, made you crave it all the more.

You watch as Eddie falls to his knees, "Can I?" He asks, pulling at your skirt.

"God, yes."

He unbuttons the fastener, pulling the distressed denim down until it's pooling at your ankles. Eddie then came face to face with your black-lace covered heat.

"I-I'm dead right? I've died and now I'm at the pearly gates."

Your hands cover your face, "Eddie! Stop!"

He stands quickly, "No, baby, no. God, please don't hide from me." He pulls your hands away gently.

Your shirt is next to go, and so is the matching bra. Eddie pulls his pants down, leaving his boxers on.

"Lay down for me, Princess. Wanna take care of you.”

The timber of his voice makes you tremble. Once your comfortable on the bed, Eddie climbs on too.

“Now, I know this is all new, and we’re figuring things out as we go, but…” Eddie pauses, laying on his stomach between your legs.

He starts kissing his way up your legs. “I’ve been dreaming of eating this pussy for a long, kiss, long, kiss, long time.”

You’re so turned on you can barely speak, but you manage to get out a quiet. “Well what are you waiting for?”

Your thong is thrown into parts unknown, and Eddie starts to feast like a man starved.

“Eddie, fuck—“ his tongue explores your heat. His hands hold onto your hips as you grind down onto his mouth.

“Uh-uh, don’t hold back. Wanna hear you, Princess.” He dives back in, lips sucking on your clit, pushing you closer and closer to the edge. He slips in one, the two fingers. Pumping and curling them slowly until he finds the spot that makes you see stars.

The fire in your belly is growing and you feel your legs start to shake. “Holy fuck, Eds—Eds I’m gonna cum!” Your hands take purchase in his hair, giving it a sharp tug as you feel the heat engulf you.

Eddie eats your pussy, drinking you in as you cum.

“Shit, I’m sorry!” You release your grip on his hair as you come down from your high.

Eddie crawls up your body, kissing you. You taste yourself all over his tongue. “Don’t be sorry, Baby. Let’s me know you’re enjoying yourself,” he kisses you once more. “Plus, I kinda like it.”

You’re both breathing heavy.

Now it’s his turn.

Your hands touch his shoulder, pushing him gently. “What’re you doing, pretty girl?” He asks softly.

When Eddie’s leaned back against the headboard, you pull his boxers off. Pink, uncut cock springing from it's confines.

God damn...he's fucking huge.

"Gonna ride you, Eds. Let you feel what you did to me." You climbed on top of him, "Can I do that? Can I make you feel good?"

Eddie's nodding, not sure what part of you he wants to look at more.

"Uh-uh," you tease. "Use your words, Handsome."

"Fuck," He breathes. He palms your bare chest, moving the pads of his thumbs over your nipples. "Do whatever you want to me, use me, I'm yours." He leans forward, hot mouth latching to your other breast.

You sit up, allowing Eddie's hard length to slip inside your aching cunt. The sheer stretch and size is enough to snatch the breath from your lungs.

"Eds...Eds, shit. S'big." You moan.

His eyes close as he bottoms out inside of you, "So tight. Fuckin' pussy was made for me, she wants my cock. Won't let it go. She greedy, baby?"

You adjust to his size filling the void inside you. Eddie hold your hips as you begin to ride him, helping you to keep a steady rhythm.

"Look at you, Princess. Cock-drunk already, hm?" He teases.

Eddie is whispering praises as he fucks up into you.

Such a good girl.

Taking me so well.

My pretty girl.

Mine.

Eddie's pace quickens, and you feel the tremble return to your legs.

"Eddie, fuck, I--"

"I know, Honey. I can feel it, feel you squeezin' me. Let go, Angel. Go on, cum for me."

His words are like a spell.

You cum harder than you did on his mouth, and this time, it's his cock that's drenched in your essence.

"Gonna cum, Sweetheart. Where--"

You're entirely lost in everything Eddie. "Inside me, Eds. Fuck, please cum inside me."

"Shit, shit, shit." Eddie's moves become erratic. Sloppy thrusts chasing his release, and when he does, he all but growls in your ear.

He's breathless and spent, but his arms wrap around you. Eddie holds you, softening inside you. He kisses the center of your chest, the trail making its way across your shoulder, up your jaw, and to your lips.

"Hi." He says quietly.

You giggle softly, "Hi."

"So uh, not sure if this is a good time or not..."

You kiss his nose, "Hmm?"

"I-I...I love you. I don't know, just felt like someone should tell you, might as well be me." Eddie's big brown eyes search your face for any sign of regret or discomfort.

Nothing.

You kiss him deeply, "I'm glad you told me, otherwise I'd be sitting over here, in love with you, looking all silly by myself."

Eddie holds you tighter. "You, you love me?"

You giggle, "Edward Munson. I love you."

He pulls you closer, "You love me." It's a statement now.

Eddie lays his head against your bare chest. "I'm gonna get you cleaned up in a second, Sweetheart. Just wanna hold you for a little."

Rubbing small circles on his back, you kissed the top of his head. "I'm not going anywhere, Handsome."

[dearsnow]

TOO SWEET

- you discover that you mix a little too much sugar into your relationship, and jake seems to believe that he’ll turn everything sour. (jake seresin x fem!reader, angst, jake being an asshole when he thinks he’s making the right decision but what’s new, i had a real fun time writing the description ⚠️ drinking)

PART 2

word count: 785

a/n - angst city is back !! and yes there are parallels bc i’m in a parallel mood so yeah some lines are very very similar to each other. hope you guys enjoy, even though my first hangman-centric fic is a sad one lol. based on “too sweet” by hozier <3

You press your palm to Jake’s face, feeling his stubble rough against your soft skin. “You’re amazing.”

He has a pool stick in his hand, one that he sets down to pull away from your touch. Your face flushes as he takes your hand in his own and places his pool stick in your other, motioning for you to take a shot. “You’re too sweet, darlin’. Let’s prove to Chicken over here that you can be tough, too.”

“Too sweet” is something he’s called you more than once. You suppose it is true, with your gentle and kind demeanor. You just can’t help wanting everyone to be happy.

Jake Seresin is pretty much the opposite of that. He intentionally upsets people with a smile on his face, content in riling them up, and fond of perpetuating rivalries. No one ever understands why you’re attracted to him, especially not the other daggers.

You see the side of him that he rarely ever shows. The one that’s kind and caring, that understands when he goes too far and reels his aggressive personality back to shore. When he kisses you on the cheek or places his hand on the small of your back, you feel it too.

So, when he pulls you to the side of the Hard Deck, you assume he’s just going to give you another drawling compliment and skirt his hand between your shirt and the soft skin of your waist. You certainly don’t expect the words that come out of his mouth next.

“Hun, I think we need to stop seeing each other.”

Your heart stops dead in its tracks. “What?” You borderline squeak. No, this can’t be happening. Everything was so perfect just moments ago, and now the look on his face makes you want to cry. It’s laden with sympathy.

He holds your hands with gentle fingers. “You’re too sweet, baby. I don’t mean it in a bad way, but I mean, you’re way sweeter than I could ever be. You tell Rooster his shirt looks nice when it’s eye-bleeding and you mean it. I love that, I really do, but we don’t fit. We don’t make sense, and I want my relationships to make sense.”

“We do make sense.” You protest. “Opposites attract or something like that. We can make it work.”

“The thing is, we can’t. I’m gonna piss you off eventually, and you’re gonna forgive me, and it’ll just be toxic. I don’t want that for you.”

He lets go of your hands, and as the cool air hits them, they miss his warmth. His green eyes are tinged with something you could associate with sadness, just a hint of aching regret. His mouth twitches a bit, curling into his sun-kissed freckles. They wouldn’t be noticeable if you hadn’t looked at him so closely, if you hadn’t kissed along that same line a few nights ago. “And what about what I want, Jake? I want you. We can have a good relationship, I promise, we’ll find a way.”

“That’s what makes you so special. Your goddamn unwavering hope. I don’t want to crush that, sweet thing, but you have to know that it isn’t always going to work out.” His tone is softer now, but his words hit like the sharp end of a knife. You stare up at him, eyes watering.

“But-“

“It’s a no, baby. Just no.”

He turns, and for the first time, you don’t follow his movements. Your fists close around empty air.

It’s really happening. He’s explained how he doesn’t want you in a million honey-suckled ways, and more than anything, you just want to sink into his arms and cry. But you can’t, and you don’t. You move away, instead, out of the Hard Deck and out of his life, into the cold night air. When you reach your car, all you can do is sob into the shiny metal.

Jake watches you leave. He wants to run after you, to thread his fingers around yours and pull you into a kiss, but he can’t, and he doesn’t. It’s better for you, he tells himself. You sip on wine and fruity drinks while his neat whiskey is sitting on the bar, half-drunk. You deserve someone nicer, kinder, who kisses you goodbye and doesn’t scratch your face with stubble. He sees you lean against your car, forehead pressed to the car door, and he almost folds. He picks up his drink and turns to face Penny, who’s looking at him disapprovingly.

“I’m not good for her.” He tries to explain.

Penny sighs and reaches for the whiskey, topping off his glass. “You aren’t. I just wish you made it your problem instead of hers.”

Taglist: @seitmai

[thependancer]

An analysis of the voices in Moment of Clarity

Before we get into the analysis, a little note:

1- I am mostly trying to show how the trauma has affected each voice compared to them on their normal routes. If they have deviations in other chapters and I have stated them as trauma responses, correct me.

2- I tried my best but some voices are just difficult 😭. So sorry if I couldn't give a satisfying explanation to your favourite.

Without further ado, let's begin:

Firstly, it should be noted that what exactly happened after you decided to stay with The Nightmare is something not even the voices themselves are sure about. But what we do know is that whatever the events were they were horrific. The voices have tried everything up to this point except freeing her. And since nothing was working and it was only making things worse, they are effectively useless now. Even the Narrator acknowledges that they are all extremely traumatized.

So let's see how these voices handle trauma.

1) The Voice of the Broken:

The voice of the Broken has shown incredible resilience and empathy in the past. And in this route he is somehow even more broken. He is also on the "Free the Princess" team, however he only wants to do it because he wants this misery to end. He has the most interesting explanation as to why we(the player) can't remember being here through all those lifetimes.

"Maybe you're shattered in your own way."

Ding Ding Ding. We've found the trauma response. The Broken has been shattered more than he already was. His will and empathy have run out. Where once he probably tried accepting the Princess, the Princess just shattered them further. He just wants to be done with it. As he says, "She smashes us to smaller pieces."

2) The Voice of the Cheated:

The voice of the cheated is the only voice to comment on the absurdity of us having so many voices. And he says it as if he's complaining about it. It's the only thing he can really do in that situation really. The Cheated does NOT like losing. But after complaining for so long and ultimately getting no where, he just accepts defeat at this point.

"It doesnt matter what we do. Because we always find her. And if we don't find her, she always finds us."

Subsequently he is on the "I don't fucking care what happens anymore" team. That isn't to say he doesn't want this to end. He does but he has just given up on trying to 'win' and get an ending. Effectively he wants to quit now. And he doesn't care if it's by completing the game or hitting alt+f4.

3) The Voice of the Smitten:

The voice of the Smitten has an interesting trauma response. The relation here is almost parallel to the relation Broken has with The Tower, except somehow worse. Smitten is incapable of seeing faults in the Princess. And when questioned if we really do love her after all shes done to us he tries to justify his love by saying

"To be given an ounce of kindness from something so pure would be more pure than any other love."

After we say that the voices in our head are wrong, he replies

"She is the ONLY THING that's right."

The Smitten is heartbroken. He's like that ex you broke up with but he still texts 'I love you' every night. Except the Princess has probably toyed with the Smittens love. But the Smitten can't not love her. So he decides he must become good enough to earn the love of "our cruel and beautiful godess". And the only way to do that is to free her. He doesn't want freedom he wants affection.

4) The Voice of the Hunted:

The Hunted was already one of the weaker voices mentally. Here he's just completely silent. He has like 6 lines the whole route. Which is only 1 more than the Stubborn. The Hunted is scared. He is almost paranoid. He doesn't even tell us to do this or that. He doesn't even comment on the mirror.

I personally feel Hunted was so broken that like a scared animal he decided it was better to hide. He does speak out in agreement to Cold when he says we sealed our fate by not killing her. Interestingly, the response is very minimal. Primitive even.

"Kill or be killed."

Which if you know Hunted, is not a normal response. He usually wants to run or hide. He never wants to kill, just survive. But here he says it would have been better to just kill. So whatever Nightmare did has made Hunted go from run to hide to kill or be killed. Wow! This is like prey animal that when cornered will just lash out in violence if they have no other choice. And that's exactly what Hunted is.

Now we start getting into some really interesting deviations.

5) The Voice of the Opportunist:

The voice of the Opportunist is so unbelievably broken its unreal. First thing to note is he already has an opinion. Secondly, he defends his own opinion. That isn't very opportunistic. He doesn't even flip flop like in his other routes. He's so different in this one, almost as if he's gained empathy as a response to trauma. He eve tries to comfort other voices like the Broken.

"You did your best really. There's just a pecking order."

And he is the only voice who tries explaining to Skeptic why his constant questions are bothering them. He does it in a positive way as well.

"They're good questions. Great questions even. But they just don't have any answers."

And he clearly doesn't care what the others think about him at this point. He's also the few voices that have some semblance of sense. Like when Cold tells them to be unfeeling, Oppy says,

"He's not wrong. He's the only smart one left if you ask me."

Again a very different opinion from the rest of the voices that deem Cold to be a nuisance. He's in the minority here. And yet when you return and start making choices, he's so relieved.

"I'm sure whatever you settle on, it'll be the best possible decision you could've made."

The reason he's relieved is because there is someone actually in control. There is a decision maker he can agree with. Finally, someone to try and suade. But this is still the most resolute we've ever seen him.

6) The Voice of the Stubborn:

He is probably the most fed up with everyone else's bullshit. Interestingly though on this route he isn't urging us to face the Princess. The only route where he isn't in a hurry to reach the cabin. He has completely lost the spirit to fight. If you got knocked out, this Stubborn could not revive you. He still wants to get physical, just can't. Who's he supposed to fight? The Princess? That's already been tried. The other voices? Now that's an idea.

"Shut up. You {Contrarion} were here."

Fight me. It's right there he wants Contrarion to punch him so he can punch him.

"Ugh. Here you {Skeptic} go philosophising again. It never goes anywhere."

I'm mocking you what you gonna do about it? Fight me. But it's hopeless. He can't even be bothered to instigate a fight anymore. But he's the macho man. What will the others think of him if he isn't aggresive? The truth is others don't really care. But he does. So he says to smash the mirror. Partly cause he wants to feel the spark of a fight again, partly cause that's what others expect of him.

7) The Voice of the Paranoid:

He is STRESSED. To the point he's constantly thinking about the Princess. He only has one goal in mind. Free the Princess. Escape. Get out of here. Make the thoughts stop!!!!

Such a precious broken boi. He just wants peace. He states,

"(Freeing her) It's the only way to get our thoughts back."

He can also feel eyes on him. Not sure if that's just Para being Para or due to trauma. But he is growing restless because of it.

"She's watching us. She never stops watching us."

He also doesn't talk much. Like he's scared the princess will hear him. He was always quiet but he's unnaturally quiet. He also really really wants to free the Princess. Overall he's Paranoid, can't think about anything except wanting to free the Princess so he can have his thoughts back.

8) The Voice of the Contrarion:

Contrarion has always been a nihilist. Nothing matters so let's just have fun cue laughter. However, here we can't really have fun. So his attitude becomes, nothing matters cue laughter. Which just makes him seem so sad.

"There's no difference between fine and not fine. It just goes on and on."

We know that Contrarion does hate himself. But here he's trying so hard to hide it here. He does not want to look at himself. He doesn't even want to think about himself. When Skeptic starts to question identity. He's also been asked this before but he would rather look away than look at himself.

"Yes this is far from the first time you've asked us about consciousness. (In a mocking tone) 'Who am I?', 'What am I?'; (Angrily) What is 'I'? Who even cares."

The Nightmare has broken him so much but he'd rather ignore it. When the voices are telling us what to do with the mirror in the cabin, he says

"Just go around it."

He's so done with himself. He doesn't even want to look at himself. He thinks that the most disgusting thing he could see HIMSELF. Not only this he tries to dodge almost every question we pose.

"What does here even mean if you think about it?"

He doesn't want to acknowledge anything even remotely related to him. Where was I? It doesn't matter, nobody really cares about me.... atleast I don't.

9) The Voice of the Cold:

The voice of the Cold has barely been affected. Makes sense. But what's interesting about him is he has actually been affected. He either doesn't know or he is purposely ignoring it. He has become more irritable. He develops a form of empathy. He has some pity.

" I've tried to keep them numb but they are all too soft. A shame, really."

That doesn't sound like the backseat driver Cold we know? Cold wants to help the other voices but he well can't.

"You're lucky you haven't been stuck here like the rest of them. There's no other way to keep going. You either need to forget or you need to stop feeling much of anything. They can't do either."

The Cold tried to help them. But the nature of the voices doesn't let them be helped. Cold is severely disappointed because of this. He even blames the player for ending up in this position when he says,

"You sealed our fate when you refused to kill her."

He just wants the player to make decisions independent of the voices. He's seen what they all do. He sees that it always ends in losses. He thinks the player was there when the other voices were having a try. He thinks the player was just listening to their requests.

"You always give too much space to others. It's why you always lose."

He is also the chattiest in this route. He also has many lines where he just tells us to be unfeeling. He's trying to protect us as well. But he's also bored. And he just wants it to end because he's bored.

10) The Voice of the Skeptic:

Possibly the most broken of the bunch. He is TRAUMATIZED. Normally, Skeptic is the most grounded. He's the guy who always has a plan. But here? He's useless. He realises this. And just breaks. He can't answer any question. How many times have we been here?

"Many many many many times."

Skeptic, wheres the numbers? Was I here?

"Are you your memories? Or are you the one perceiving the present moment?"

For someone who really loves answers, he sure doesn't seem to have any. The most logical voice being turned completely insane. He can't accept anything.

"Can we love something that hates us? Can we love something that hurts us?"

He's trying to distract himself. He doesn't want to think about the situation. He doesn't want to THINK. That's so bizarre. The Nightmare has broken Skeptic so much he doesn't want to do the one thing he loves to do. In fact when we reach the Long Quiet his first words are,

"I can finally think again."

11) The Voice of the Hero:

The voice of the Hero has a reaction that would make anyone furious at the nightmare for what she did to our boy. Hero is normally jocund, enthusiastic, understanding, and overall lovely. But here he is depressed. He doesn't talk much which is unusual. He always has something to say. But he's just so defeated. When the Narrator tells you the only thing you can do is go to the cabin, Hero replies

"Or you could just give up."

Hero says that. Not Broken. Hero. Our Hero. The one who is always encouraging us through our journey. The one we can trust no matter the circumstances. Our best friend. This line is the most terrifying part of Moment of Clarity. If we had any optimism going in, it had left us in this moment.

"You're lucky. What I would give to be able to forget."

Please someone comfort our boy. He deserves all the chocolates in the world.

In the Long Quiet

Once you reach the Long Quiet the voices seem to ease up a little. They see death within arms reach and think it a mercy. As Hero puts it:

"Something tells me this is the end of the line, but I don't feel bad about it. I'm ready."

Which is a striking contrast to his usual plea to not look at it. His fear of death is converted to a longing of it. Which could be seen as a another proof of why the Narrator's utopia is wrong. Because people who have lived a nightmare long for change and even death. And so he is at ease.

The Broken says,

"It feels okay."

Which is huge for our boi. Broken never feels alright. He is always sad or depressed. Something is always not okay with him. But after living through a nightmare, things finally seem okay. And so he is at ease.

The Paranoid says

"The fear's gone."

Again an amazing development. Paranoid always feels watched, and he's scared of who it is and why is he being watched. But in his final moments, living through a nightmare, he realises that the fear has no place in him anymore. And so he is at ease.

The Stubborn says,

"I'm done fighting."

This statement is a confession. He had long lost the spark for a fight, but here he can finally admit it. He doesn't want to fight anymore. He doesn't want to resist anymore. He wants to let go, and he does. And so he is at ease.

The Smitten says

"My heart feels quiet."

The fire of passion is fierce. And here it burns the Smitten. He wanted affection. He desired a connection with the Princess. His heart was incapable of doing anything but. Now as he is unraveled, his passion is extinguished. His heart is quiet. He never did get the affection he desired but realised he didn't need it. And so he is at ease.

The Cheated says,

"The game was always going to end."

For him, this is an ending screen for a rage game. He hated the experience the whole way through. He constantly faced losses. But he persevered. And so he found the ending. After all, no matter how extensive the game was, it was always going to end. He is glad he didn't quit. He got to see the ending. And so he is at ease.

The Cold says,

"I'll be free of all of you."

The worst part about this nightmare wasn't the nightmare itself. It was the fact it was hurting the ones around him. They got hurt abd yet he was as unfeeling as ever. He knew he had to be right. After all, wasn't he the only sane one left? Now as death approaches, he doesn't have to help carry the burden of others. And so he is at ease.

The Skeptic says,

"I'm ready for the truth."

The Skeptic was thoroughly broken throughout this experience. A man of reality shatters when reality shatters. And the thinker's response to doubt is to seek. But no answers were present in the nightmare. Now there is something that is very clear in purpose. Something easy to test. The mirror is death? Alright then let's see the truth. There are answers again. And so he is at ease.

The Hunted says,

"I'm ready to sleep."

An animal who has tried everything to protect itself and failed over and over again. A wounded creature who was pushed to his limits. But he is very tired now. He tried his very best. Yet it seems death is inevitable. He has remained vigilant and fearful throughout the nightmare. Now he feels safe enough to rest. And so he is at ease.

The Contrarion says,

"I'm just ready to be anywhere that isn't here."

The nightmare had shown him how low of a person he could be. He has come to associate that version of himself with those wretched circumstances. As he leaves that place behind he leaves behind his self hatred. He wants to get on with it already. He finds esteem in himself and his voice now echoes with joy and pride. And so he is at ease.

The Opportunist says,

"Boys..... it's been an honour."

The one who has never experienced true connection. The one who is constantly at odds with himself and everyone. Throughout the nightmare he garners genuine connection and empathy. He realises that the ones he should truly support are those that he loves not those that are the top of a pecking order. He finally finds that connection in this moment with the others. And so he is at ease.

And so they are at ease.

[bitchface24-7]

Hi V! I was wondering if you felt comfortable doing a fluff fic of reader x viktor or jayce comforting reader on her period ?

All goods if you can't!!

I really enjoy your writing and I live all the attention to detail you put into your stories !!

THIS SUCKS… - VIKTOR & JAYCE X READER

synopsis: you're on your period, you feel bloated, agitated, and your stomach hurts. You can't tell if you're hungry, if you're cramping, or if you really need to shit. Your lovely boyfriend sees you struggling, and takes care of you the best he can.

warnings: menstruation (obviously), pain, fluffy fluff of our boys taking care of us.

genre: m/f or gn/m

p.s. I'm going to write this in the style of bullet points. Also, why not get both? This isn't Jayvik, so if you prefer one over the other, you can just read one part. Love ya! ❤️

VIKTOR X READER

You dread everytime your menstrual cycle hits you. It's painful, messy, and makes you agitated at the littlest things.

It makes you unintentionally be snippy with Viktor, something that upsets you even more since he hasn't done anything to deserve that treatment.

He's incredibly understanding. As someone who deals with chronic pain he understands that pain can make you act in ways that you typically wouldn’t.

Your pain may not be 24/7, but he knows it comes once a month for a week straight.

He has pain killers, a heated weighted blanket, and light food that surprisingly fills you up ready for you.

He’ll even make you sweet milk when you ask for it.

You typically do parallel play, he’ll continue to work, but he’ll make sure he's in the same room as you.

More times than not, he's cuddled up with you in bed, your pleading eyes and pouty lips will be his downfall. He can never say no to you.

Viktor makes this part of your life so much easier, and you can't thank him enough for it.

(its actually his way of thanking you. You take care of him all the time. Adjusting his spinal brace, his leg brace, making sure he has his cane. Helping him take off his assistive devices when he asks. Making sure he eats, he sleeps. He appreciates your care and love more than you'll ever know. So he tries his best to help you when you need it.)

JAYCE X READER

Jayce has a good idea how to take care of menstruation aches and pains. He's practically Cait’s older brother. He was around when she went through puberty.

It was not a pretty sight.

He knows you'll crave sweets, chips, sushi, fried chicken, really anything super flavourful and bad for you.

He knows teas help with cramps, so do heating pads, and lightly massaging your lower abdomen.

He knows you'll alternate between wanting to be alone, and being cuddled.

He knows you'll accidentally get snippy, feel bad, and want to hug him.

He knows it all.

It’s like it was ingrained into him on how to take care of you. He just appreciates that the hellish years he had to deal with a pubescent Cait paid off in the end.

(no he swears she was going to kill him at one point)

Being able to cook delicious food because of his mama makes it even better. He’ll make so much food you honestly wont know where to start. But they'll for sure be something there you can stomach.

They'll always be there to take care of you ❤️

Hi Anon! Thank you for the compliment! Sorry this is much shorter than you probably expected, I just don't deal with my period often? I go like one to three months in-between cycles and I just take care of myself when it happens. I medicate myself and essentially sleep away the pain for a day and a half, then I'm back to normal, I’m just bleeding now as well.

The longest time I went without a period was six months back in 2022 (I was 20 and had gotten it in November after my assumption of extremely early onset menopause LMAO, after that I got a tracker app to help me remember when I get it) and no I was not pregnant. Unless I’m Mother Mary reborn, that wouldn’t be possible.

[hxney-lemcn]

non-request Idia thought of the Day:

Consider hieght difference.

OUR BOY BE TALL!! Easily being able to duck under his arm or get into small spaces to fix tech because you're small.

being absolutely done with a situation (Dorm head meeting?), walking over to Idia, and promptly zipping yourself up in his jacket. while he's still in it. He doesn't know what to do. he's just standing there with another person in his jacket with him. WHAT BUTTON DOES HE PRESS FOR THIS HE DOESNT KNOW-- Not even your head is out, the jacket is zipped all the way up.

Also sweater paws for that one hit K.O. to Idia.

ALSO SHORT BUT STRONK- IMAGINE BEING SMALL AND ADORABLE BUT YOU JUST PICK IDIA'S SKYSCRAPER ASS UP LIKE NOTHING. "Hi Cater, Need Idia. Bye." Straight just yoinking him and leaving. Why did you need him? Parallel play reasons obviously.

Idia is 6 ft (183 cm) tall, and he never really thought about his height. Why would he? He barely leaves his room, if anything, he wishes he was smaller so he could blend into a crowd better.

And then you come along. It doesn't matter how much shorter you are, whether its only an inch or a foot, he notices that your shorter.

It would be so funny if you try to kabedon him, if you're really short you gotta stand up on your tippy toes. Instant K.O. Idia is gone, deceased. He finds it both adorable and lowkey hot and he secretly wishes you do it again.

If he tries to get you back...he dies of embarrassment if you slip under his arm. HE WAS TRYING TO DO THE THING! AND YOU JUST- YOU WEREN'T SUPPOSED TO DO THAT! (give him a little kiss to make up for your teasing).

He is crumbling at any sign of affection (even more so if its public). You zipping yourself in his hoodie? Or just slipping it over your head as well. Sharing a hoodie while he's still in it...yeah he's a jittery mess. You're heat seeping into him, your hair tickling his skin, you look so peaceful with your head against his chest and arms around his torso...if your in a private setting he watches you with a blush. He can't get over the fact that you're real and you choose him. If you're in public his hood is over his head and he's trying to act cool but his bright pink cheeks and tips of his hair clearly give away his true feelings.

It would be absolutely comical for short but strong reader to pick up Idia. Oh my gosh and if people are around...yeah he's floundering (ik I keep saying that but lets be real...he can barely handle a normal social situation lmao). To be fair, if you can lift over 140lbs (63kg) you can probably carry him (he is thin so I'm assuming we are a similar weight and I added some lbs cus he's taller than me). This is probs your way of getting him out of a situation he doesn't want to be in (any social one 💀).

Cater is trying to be buddy buddy with Idia, wanting to finally have at least one friend from Ignihyde. Idia looks like he wants to be literally anywhere else. So you decide to step in, pick up Idia, and tell Cater that y'all had plans. Idia is holding onto you for dear life, Cater is eating it up (this is now added to his gossip folder and he definitely got photos of you carrying Idia). After the panic wears off, Idia is impressed. Who knew you had so much muscle? Totally not another reason for him to simp for you.

[lycheeloving]

a non-platonic yandere!Bruce thought this time, with some multiverse stuff, because that's all I could think about today.

I imagine this is at a point where you've been with him for some time & have mostly gotten used to your situation (having been kidnapped and forced into a relationship with a billionaire who happens to be Batman)

a small allusion to nsfw stuff, minors dni

You're bored, sitting in the bedroom you share with Bruce (who's currently patrolling, so you can't even annoy him for entertainment), so you decide that you at least want a change of scenery, and what better place for that than the batcave? So you take a book, a drink and a blanket with you as you venture down into the cave.

Bruce doesn't like it when you're down there, especially not while he's out, but it doesn't concern him enough to install anything that would keep you from going down there. If you're lucky, this will piss him off just enough to make the inevitable post-patrol sex with him more interesting tonight, so a win-win situation, really! You sit down in his comfy chair in front of his bat-computer, snuggle into your blanket so you don't freeze to death and start reading.

After some time you stand up to stretch and notice Bruce in the reflection on the computer. Weird, you didn't hear the batmobile returning! Well, you must have just been really immersed in the book.

"Bruce? You're back early, I thought you said you'd take longer today because of some Arkham emergency?"

No response.

"Ok, look, I know you don't like it when I'm down here, but I was getting sick of the manor!"

Still no response.

You turn around to look at him more closely, his expression might look like his usual stony facade, but you've spent enough time with him by now to be able to read him a bit and you're pretty sure he looks... confused?

"Hello? Are you ok? Did you hit your head? Did you drive with a head injury?? Wait, no, of course not, the batmobile can drive home all by itself-"

As you say that, you look at where the batmobile should be. should be, because it's not there. You look back at Bruce. Did his batsuit always look like that? You could swear that the ears are usually a bit smaller, and the color is wrong. Huh. You take a step back. "You're.. not Bruce, are you?"

He finally opens up his mouth to explain that he's from a parallel universe, that he and the Bruce from your universe have been helping each other with cases for a while now, he just came here to see if your Bruce was available, but if he's not here right now he's going to leave again. He gestures to a portal in the wall that you missed because from your angle it just looks like the wall of the cave, but when you take a step forward you can see into what looks like the batcave you're in right now but slightly to the left. A bit uncanny.

"You looked confused earlier, did Bruce not tell you about me? Or did you just not expect to see me down here?"

"...I was not aware that he is in a relationship."

"I mean, yeah, I guess if I was him I wouldn't go around telling people I kidnapped someone and keep them locked in my mansion, either. Even if they looked exactly like me, I mean, you never know if they think exactly like you as well. Um. Anyways, it was nice to meet you?" You wave awkwardly while he looks shocked (in his stoic way).

"...Why didn't you try to escape through the portal, then, if you're kept here against your will?"

"Oh, um, my bracelet is designed to shock me as soon as I leave. Like, really painful electric shocks. I'm not trying that again." More shock and guilt on other-Bruce's face.

"I'm sure I could disable it. Come with me."

"...And then what? Bruce will come after me. He'll attack you and be really, really mad at me for running away. Really mad. He said he'd break my legs if I ever tried to run again, I'm not risking that. And he'll keep me chained up in the bedroom for months." You shudder. "I like my walking around the house privileges, thank you very much."

You feel uncomfortable when he doesn't react and instead keeps staring at you. "I think you should leave. Now. ...Please."

He takes a step towards you. "I can keep you safe. I wouldn't feel right, knowing I left you here. Come with me."

You take a step back. "Look, thank you for offering, but I don't think this will end well for either of us. I'm gonna go now."

You turn to leave, but he's faster than you. He grabs your wrist, stopping you from getting away. You squirm in his hold while he inspects your bracelet. He then pulls something out of his utility belt with which he's able to remove the bracelet without it shocking you, throws you over his shoulder and carries you through the portal, not at all bothered by your kicking and scratching. He puts you down and closes the portal behind him. It all happened faster than you could wrap your head around.

"...I think it would be best if you stayed in the manor until I figure out how to resolve this.", he says, an unnerving glint in his eyes.

Did you just get kidnapped by a second Batman? Will he really let you go? You doubt that, somehow. You think you would have preferred to stay with your Batman, at least with him you knew what to expect...

[emo-batboy]

Trick or treat!

Hello :D Here's your treat

Battinson and Cars

He is a car guy. He loves his car. It is his baby. He can fill his car with gas, yes. That is a thing he can do on his own in his own garage with his own gas.

But he does not know how to operate a gas pump. (New Jerseyans are crying in solidarity.)

Bruce gets into so many car accidents.

Like yeah, he's Batman. But he's also that kind of driver who is perfectly okay when he's on autopilot, but the MOMENT he remembers he's driving a death machine on wheels next to other people driving death machines on wheels, and if you accidentally cut them off or forget to use your turn signal, they will rear end you?! He gets a little antsy :/

The second he overthinks it, he's making mistake after mistake. What are you gonna do? ¯\_(ツ)_/¯

But when he's in his tricked-out batmobile engaging in a high-speed chase while narrowly avoiding death at every turn? A vigilante with no regard for the rules of the road other than "Do Not Hit People?" He’s suddenly a professional stunt driver! Fuck it!

That’s one of the reasons no one could possibly believe he’s Batman

"Bruce Wayne Reverses into Bush at Local Wawa, Cries as He Calls the Cops on Himself"

Then four hours later...

"The Batman Performs INCREDIBLE STUNT on Garden State Parkway, Saves Lives and Kitten Stuck in Tree"

You think these are the same person? Please be serious.

Anyway-

He is the only person in the JL who can reliably parallel park.

He's also a fucking speed demon. (This is Jersey. The Norm is going 90 in a 55. And back to the "autopilot" point) if he's lost in thought, he's definitely breaking the law. And overtaking like five cars a minute.

Alfred taught him to drive (and is lowkey the one that gave him driving anxiety. He is a very strict teacher.) Because of this, his first car was manual :) Now, he prefers it because it feels cool and action-y when he changes gears on the highway.

Bruce got into his first car chase when he was 15. (Baby's First Car Chase <3) Don't ask me how.  Don't ask why. Just know he does. (I mean, I do have an answer but I'm not giving it to you.) This also means he did it without a license because he was too young to even have a permit at the time.

He has a hatred for literally anyone with Pennsylvania or New York plates. Why? Because they’re slow as fuck and try to turn left at the intersection when there is clearly a jughandle??

(Homework for everyone that doesn't live in NJ: Look up "jughandle" or "jersey left" and tell me your thoughts.)

He was so pissed at the amount of potholes in Gotham that he personally filled them as Batman in the middle of the night. (Wtf are his billions of tax dollars going to?)

Once Bruce was muttering curses at the idiot in front of him with NY plates only to see Clark fucking Kent exit the car. Superman could not understand why Batman kept glaring at him for a week.

I did not spell-check this. Happy Halloween :)

[hiding-under-the-willow]

a) your ghosts au bdubs looks just close enough to Jonathan Sims I keep doing a double take when I look at him (in the best way possible)

and b) how does Grian react to ghosts being real? especially... these ones

great au, 10/10 I'm already obsessed

You are the second person to tell me you mistook him for Jon! TMA fans will see any brown man with white streaks in his hair and think it's Jonathan Sims, Head Archivist of the Magnus Institute, London <- being a hypocrite, is also one of the tma fans who does this

As for how Grian reacts to the ghosts being real, I imagine that much like in the show he starts out very skeptical, maybe even slightly more level headed than Allison, very "I hit my head, I'm just seeing thing, if I ignore them they should be gone in a few days", Joel, the natural skeptic magic denier as always is of course helpful in encouraging this plan of action. Of course the problem with that is that this particular group of ghosts are so incredibly stubborn and determined to be as annoying as possible until they get rid of Joel and Grian that I imagine they would eventually succeed in breaking them down, no matter how determined Grian is to stay logical and deny their existence. I feel like Grian and Allison are actually like really good little parallel characters, like their brains work in similar ways, so I very much imagine he would end up following the same line of logic that she does in the show to realizing the ghosts are real, "oh im seeing different ghosts different places, why would my brain do that if they were just hallucinations, well it wouldn't would it, so they have to be real", and once he does that's it, that's just the reality he lives in now, and by god is he gonna find a way to deal with them.

[arcanecor3]

Sister parallels.

Okay so, this is me trying my best to explain my view of the parallel between these 2 scenes

Firstly, a little thing to keep in mind is that in this parallel, s2 Cait represents s1 Vi and s2 Vi represents Powder 

A big fight just happened, s1’s was the Vander rescue mission and s2’s was find Jinx, and both ended up going wrong because of someone who was supposed to help (Powder; s2Vi). After everything goes down at the s1 warehouse, we see Vi screaming and she is angry (i’ll come back to that later), and then Powder shows up with the “my monkey bomb finally worked” line we all know, and on s2 we have Caitlyn being the angry one because Vi didn’t let her shoot.

a little parallel with the lines:

“you did this?”-s1vi to powder

“you stopped me”-s2cait to vi

“i was saving you”-powder to s1vi

“that was a kid! what if you missed?”- s2vi to cait

Now, both s1 Vi and s2 Cait are blinded by anger and grief, so even tho the other person (Powder; s2vi) is explaining themselves (in Powder’s case it wasn’t the greatest explanation, but she does states that it was an accident, and s2 Vi was being rational), they don’t really listen because of all the anger.

then, Vi slaps powder, making her fall, and that’s when Powder desperately asks: “why did you leave me?” to which Vi answers: “because you’re a jinx! do you hear me? mylo was right". Now on s2, basically the same thing happens, just in a different order: s2 Cait says: “I keep telling myself that you’re different. but you’re not. it’s her (Jinx’s) blood that runs in your veins”, then Vi asks her: “then why are you the one acting like her?” and Caitlyn hits vi, knocking her to the ground. AND IN S2 WE EVEN GET A SHOT OF ANGRY CAITLYN LOOKING AT VI CRYING, JUST LIKE S1 VI LOOKED ANGRY AT POWDER CRYING. LIKE HOW SICK AND TWISTED IS THAT.

Then both s1 Vi and s2 Cait walk away, leaving the other one crying alone on the floor. 

The thing is that crying is the exactly what we expect from Powder, since that’s how she was during the entire scene, because that’s how her character is. but not Vi. Because during the entire of the s2 scene vi wasn’t actually crying, in fact, Vi barely cries in the whole show, the only time we see her actually sobbing is during the bridge scene from s1e1, when she saw her dead parents. And since then, she has trained and fought to become a person who can protect those she loves. And even when everything goes down at the s1 warehouse, we only get to see her a glimpse of her crying before she tried to go back to powder, but she’s mainly angry, that’s the way Vi usually reacts to these situations. She gets angry. And she tries to do everything in her power to go after who hurt her/the people she loves.

But this s2 scene is different. She simply has nowhere to go. Once again, she lost everything. Her family? dead. you might argue there’s Jinx but as Vi herself said: “my sister is gone”. the last person she had was Caitlyn, and she left, and Vi now feels like she ruined everything again, because that’s how she is, she burdens herself with the guilt and blames herself. So when you see Vi just, on her knees, crying, it’s just so devastating when you think that she is like that because her life is essentially over. All there’s left to her is cry. Just like Powder in the end of s1e3, s2e3 Vi lost everyone.

But that’s when the parallel ends, because it’s when Powder was in that desperate state that silco came, and even though his character divides opinions, you can’t deny that he took care of and loved Powder (who became Jinx).

Vi doesn’t have anyone to come and save her, to wipe away her tears like she had done so many times before for Caitlyn and before that for Powder. She is alone.

thank you to whoever read this entire thing for contributing to my arcane obsession, and shoutout to my amazing friend who helped me put this together @crzytoogetherr 🥰🥰

[mishy-mashy]

Bruce is actually really attractive, and I have enough reasoning to make a list

He's:

Tall (. Tall enough to hit his head on the vault doorframe)

Long-legged

Has a straight nose bridge

Has high cheekbones (more noticeable in 2nd pic below)

Has a strong jawline

Sharp eyes, but they aren't small (plus eyebags if you're into that)

Overall, he has strong, attractive facial features

Has broad, refined shoulders. You can tell he works out (or he did, when he was alive)

Even has a thick, muscly neck

He has MUSCLE. Is SCULPTED. NOICE. VERY NOICE. (nice arms. Nice shoulders. Nice neck. Nice legs. Nice butt-)

(There are actually panels where you can see some of his muscles. Other than those already shown here, he's got bricky thighs-

-and in the panels where we first get his name dropped, he's got those shoulder blades too-)

The one time we see him smile, and he actually has a scary one

Has small, kinda sharp pupils, and his eyes remind me of a cat. We only ever saw him tense or defensive, so his resting/listening face is really cute

Other than the physical appearance stuff, he also:

Takes shit without batting an eye (patience, knowing it's just how Kudo is, etc)

Kudo being all "Cut the crap Bruce and give it to me straight", after Bruce tests his blood and is rightfully Concerned because they just faced AFO

Put up with Kudo's experimenting and testing over Yoichi's transferable Factor

Did ya'll see the look on Kudo's face when he realized he had Yoichi's Factor/will? Kudo was going to start in nonsense and Bruce just dealt with that.

Also something I noticed when looking back at the images here; Bruce has bandages on his arms in the void. But not when he faced AFO in the sewers.

Were he and Kudo cutting their arms open in their experimenting over Yoichi's theory? Is this why Kudo has two gauntlets instead of his one? Why we never see his bare arms in the void? That he always keeps his arms down so there's no slip?

Is smart enough to run blood tests, plus has enough common sense to pick Shinomori as his successor

He picked a guy who avoids society, has an Ability to detect danger so he can always stay away from AFO, is also a coward so he's never going to go throw himself into danger, even without knowing instinctively he stands no chance, etc.

Meanwhile, Kudo chose Bruce, who he played Hot Potato Yoichi with; but he did also trust Bruce, and put the only pure combative Ability in OFA through Bruce.

These two made their choices based on what they valued and saw the Factor needed.

Is logical, analytical, and calm.

He tried advising Midoriya on their Abilities in One For All, especially his own.

Midoriya then tried ignoring him about using Fa Jin for the first time, but found he was right, thinking: "Dammit!! I had [Lady Nagant] right where I wanted her, but... ugh! The Third was right. My parallel Quirk processes are all screwed up!" (ch. 314).

Plus, when Midoriya fixed his processing mistakes, Bruce was analyzing the way he reached his new conclusion. Pure facts, no bias, very calm, just saying it as it was.

We never see him panic. When he's caught by surprise in the sewers by AFO, Kudo, and Yoichi's little bubble event, he immediately reacts. He doesn't falter, he just knows he has to do something right now.

Was more willing to listen than Kudo to Yoichi's beckon, and probably was just following Kudo's rejection of Midoriya

While we don't see Kudo's face, we see Bruce's eyes when Yoichi calls on his heroes. Bruce was more open and receptive, or at least more impacted.

Bruce was also the one to start talking, while Kudo just kept quiet.

He actually communicates a lot

When Yoichi called them to support Midoriya, Bruce started talking to paint a picture of why they thought the way they did, so Yoichi understood where they were coming from.

(Though he seems to beat about the bush sometimes, since Kudo spoke up to be direct on how they couldn't just put their trust in some starry-eyed teenager. Plus, when Kudo tells him to just tell him what's wrong [double Factors])

When Midoriya first used Fa Jin against Nagant, Bruce came out just to tell him he knew what he was trying, but that Midoriya wasn't ready; and Midoriya found he was right. Midoriya just didn't want to listen to him then.

He asks Kudo for clarification after finding Kudo had two Factors in him after the sewer incident ("Just to be sure, All For One didn't touch you, right?") Kudo knew him well enough to go "stop beating around the bush and tell me", so Bruce was probably gonna start with questions, theories, and trying to understand everything in general, before saying "yeah you have two Factors. Don't know why".

Is strong-willed and loyal.

He followed Kudo, even to death, carrying on the cause he started until it ended with him.

Plus, when talking about how AFO needs a strong will to override OFA's own, we first see Bruce, Kudo, and Yoichi.

AFO couldn't steal OFA because the will was too strong for him, and that was back during Banjo's time. Since Shinomori never actually tried opposing AFO and just hid, we can assume the first Three (Yoichi, Kudo, Bruce) already had an accumulation of strong willpower that made OFA un-stealable. Those three are a strong enough foundation, and the main wills, that the other users just become bonuses.

Kudo, also saying that Midoriya needs allies with the same will and drive as him... hey Kudo, you're talking about yourself and your old allies, aren't you? That's why you look at Yoichi and Bruce when you say this.

Not only is Bruce attractive, but he's got good character. THE END.