#regarding some characters in book two

[you-are-my-neverland]

you ever watch or listen to something and all of a sudden there’s a whole duology in your head that must be written immediately. anyways: apocalypse fiction anyone? a hint of supernatural worldbuilding and spiritual sensitivity? friends that go through life and death situations? other things that are half formed in my head? 

[ image id: a wall of text in times new roman font, with several sections blacked out. it reads:

THE PREMISE

a duology that spans an apocalypse and then the post-apocalypse world.

BOOK ONE follows the apocalyptic event itself and the aftermath. [several lines of blacked out text]

There are two categories of monsters: Soul Stealers and Sun Eaters (commonly collated as suneaters). Soul Eaters are wraiths, humanoid shadows with glowing silver centers where the human heart would be. [wall of blacked out text]. Sun eaters are Soul Stealers monstrous companions. [sentence of blacked out text]

BOOK TWO is set ten years after the apocalypse and the events of book one. It follows a handful of young initiates who begin training to be Seekers/Guards, those who can traverse the wastelands and combat Soul Stealers and Sun Eaters. / end id]

[aleki-lives-here]

If I do end up writing murderbot fanfic, it'll probably include some nasty taking over control virus that will not be conveniently stopped before it can actually start acting. The way murderbot was absolutely terrified when faced with that alien shit in Network Effect was absolutely delicious. I need that, but ten times worse and also painfully drawn out.

It would miss the moment it got into its system for "trying to save humans no time to waste" reasons, and by the time it had a chance to get a diagnostic it would have already hidden itself. By the time it noticed something was off, it would already have enough control to stop it from doing something about that. Maybe changing the memory files so that it struggles to keep track of it, and maybe directly stopping its body from cooperating.

A scene that came to me had Murderbot try and tell Mensah about the virus and have the output be cancelled (perhaps before it got to that point it would have noticed a slight delay in the reaction time, which would definitely be hella concerning), just completely being unable to notify others that there is a problem. Except that they have those code words with Mensah and so it does tell her that something is really really fucking wrong, but can't elaborate. Now everyone is worried, and it is struggling to fight off the virus that has had enough time to prepare to really not make it easy.

Anyway, ideally it all escalates despite everyone's attempts to figure out what the fuck -- Murderbot's diagnostic tools are fucked from the inside and humans have better luck at noticing the problem but can't really help much. The perfect culmination would be total control. Murderbot just being completely trapped into its own body, forced to do something it doesn't like or even just stand still (no access to media if you want to turn it into an especially excruciating torture). Tho turning its control completely is a waste of its talents. Maybe the virus could just get the governor module back online, but completely under its control, so Murderbot can enjoy being electrocuted some more.

Gods I just love to torture my favorite characters. If I end up writing a fanfic, it would be this kind of terrible no good scenario

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[burnoutgxrl]

The only appropriate way to stop my yaps is with a kiss, uwu

[jewishcissiekj]

incidentally came across a Mike Chen tweet and decided to search up Asajj tweets on his twitter. which was a mistake because that man is doing nothing but pissing me off and his Asajj takes are infuriating and I most of all despise his take on Tartakovsky Clone Wars Asajj and Anakin Yavin 4 fight

is he like. stupid. did he even watch the show. I don't get it

[jacksintention]

I'm thinking again on the fact that so often comments, criticism and readings on Jack dwell a lot on how he is barely human/a person/doesn't have a personality at the point of the story and, while I somewhat understand these points, I find them so lacking. I find them... ableist? I'm always doubtful to use the word here because I'm not sure if it's applied in this kind (mental health) of context, but something like that. And I find them extremely simplistic.

However, honestly, a big part of the reason for these readings being so popular is that the manga itself words it that way. But that's one of the problems I find in the manga. When I say P.andora Hear.ts is very good but unfortunately it is very manga-like at times, besides the 2000s homojokes and the like, I'm usually thinking about things like this. I feel like often characters and situations that are (potentially) very intricate instead of getting insightful deep overviews often get screwed by the writing itself, which falls into very manga tropes a lot in a bad way (not that every manga has to fall into them, or that every manga trope has to be bad or written badly).

I don't know... For instance, I'd argue R.askolnikov's capacity for love in Cr.ime and Punishmen.t is debatable, but it's never treated as if it made him less of a person, a human being or made him not have a personality. I'd say not even Svidrigailo.v, who is as much a Bad Guy™ as a character can be, gets that treatment by the writing. I'd say that even him or Mikol.ka are written as fully fleshed human beings with their intricate internal lives and feelings. Svidrig.ailov's last scene with D.unya is fascinating for both characters and spins the whole dynamic and makes you question the entire narrative and veracity of not only those two characters, but brings to mind several other conversations among different characters and throws light (and doubt!) on the main plot between R.askolnikov and Porf.iry.

In similar situations, Jack's humanity, personhood and personality are debated, doubted and even full on accepted as vanished. No one reads Crim.e and Punishmen.t and comes to the same conclusions about Raskolni.kov, Svidrig.ailov, Sony.a or Razu.mikhin. The writing doesn't allow it. The writing doesn't allow you to forget that humanity is diverse and multifaceted, that it can be sad and cruel and loving and monstrous, even all at the same time, or that a person may struggle with feeling at all; and one is still a person.

[eyesocketinchworm]

i'm not going to complain about shadow and bone too much because i could obviously just like. not watch it. but just know that ohh my god. oh my god

[fragmentedblade]

At this point I don't care about the hot swordsman with Orphic themes at all. I only care about the heathcliffean master craftsman

[mikkeneko]

In various places -- here, the bird app, even YouTube comments -- I keep running into people with some variation of the same question:

"Does Scum Villain have a teacher/student romance?" And every time I want to answer with: No, But Also Yes, But Also Not Really, It's Complicated (And That's On Purpose.)

Which is an answer that's too long to fit in a tweet or a YT comment, but fortunately tumblr has no (effective) post limit! So here I go.

1 - No

In the very straight forward porn cliche sense of "oh but professor, I really ~need~ to pass this class or my life will be ruined, can't I do ~anything~ to get you to change my grade?" *bats lashes* and "Hoho, my pretty young teen student, I've got your good grade right here in my pants, if you ~apply~ yourself..." then no.

No sex or romance between a teacher and their student in the bounds of a teacher-student relationship happens in this book. No deliberate grooming of an underage student on the part of a teacher occurs in this book. No sex or a romance between an adult character and an underage character occurs in this book, nor is the adult 'waiting' for the minor to reach adulthood to initiate one.

2 - But Also Yes

No sex or romance between a teacher and their student in the bounds of that relationship happens in this book. Two people who were formerly in a teacher and student relationship do enter into a sexual and romantic relationship by the end of the book. Also the nature of the society they're in further means that even though they are no longer in the schooling environment, it is socially assumed that the deference owed by a student to their teacher lasts forever, even after the student leaves that environment, and they continue to regard themselves and refer to themselves in those roles even though the teacher no longer strictly speaking has authority over the student.

Also, the student was really hot for his teacher even when he was still a student. (The teacher was oblivious to this fact.)

3 - But Also Not Really

By the time sex and romance is even on the horizon for these characters, their relationship has so drastically changed from that of a "teacher and student" that it is barely recognizeable as such. The power/authority dynamic between a teacher and their student is subsumed pretty much entirely by the facts that:

A. The 'student' has become a medeival fantasy warlord of such unsurpassable magic and might that literally no other person in this world can stand up against him, 'teacher' included, and the 'teacher' is well aware of that.

B. Also, the 'student' is metaphysically endowed (heh) with the Protagonist Halo, a literally active force within the setting they're part of, which means that not only can he not be defeated, he ontologically cannot be denied anything that he desires; what he wants, he gets, and what he doesn't want, cannot be forced on him.

C. ...But also, the teacher in this setting is a metaphysical outsider to the world order the student is part of, which means that he is aware of all of the above, and can and does manipulate it to suit his own agenda, which may or may not align with giving the student what he wants at any point in time. Assuming that the teacher has the correct understanding of what the student wants. (He doesn't.)

D. ........But also also, for all his power, one harsh word from him can destroy him. For all his knowledge, one tear can devastate him. (Which one? Both.)

4 - It's Complicated (On Purpose)

*throws the chalk against the wall*

Between a teacher and their student, who has the power? Between an emperor and a scholar, who has the power? Between a hero and the villain he is predestined to destroy, who has the power? Between a character and the reader who's read ahead to the end of the story, who has the power? Do we find some of these power imbalances more acceptable than others? And if so, why do we?

Trying to track Who Has The Power or Who Has An Unfair Advantage socially, physically, and metaphysically between this particular pair of characters is damn near impossible and that's on purpose.

The Scum Villain's Self Saving System is a lot of things, but one thing that absolutely defines it is that it is a parody. It's a parody and a deconstruction of a lot of things -- the 'stallion' genre, the 'isekai' genre, the 'pay-per-chapter webnovel' genre, the 'gay drama' genre and, most relevant to this conversation, it is a deconstruction of teacher-student romance.

What kind of a teacher-student romance has a clueless, fish-out-of water NEET in the role of the Wise Old Mentor? What kind of a teacher-student romance has a black-hearted, demonic, domineering feudal warlord in the role of the Blushing Virginal Student? What kind of a teacher-student romance has the two principals so close in age -- by the end of the book, they may be as little as a year apart -- that they're more like peers than teacher and student? What kind of audience are we, going into a story like this one and finding ourselves cheering for the teacher to fall in love and lust with his student, only to be disappointed when that doesn't happen because the teacher fails for three books straight to recognize love and lust when it's literally looking him in the face and crying?

Asking "does Scum Villain have a teacher-student romance?" is sort of like asking "does Galaxy Quest have a lot of high science fiction concepts?" No, but also yes, but also not really. It's complicated, and that's on purpose.

[vamplvs]

TYPES OF KISSES

characters — bruce wayne, dick grayson, jason todd warnings — lots of fluff, a bit of swearing, and it gets a little suggestive in jason's notes — this is my first time back on tumblr in about a year or two so forgive me for any errors/organizational issues. also for the record i absolutely pictured battinson

BRUCE WAYNE. — trailing kisses

after a gala, bruce is always worn out. it's draining being in front of press and high society—if that's what gotham's equivalent of socialite extravagance can really be called—for hours on end. putting on a pretty smile, dancing around questions regarding the dark shadow looming over gotham's underbelly, and shaking hands with people he couldn't care less about. none of it is remotely interesting, and being trapped there for hours lest he face alfred's wrath is all the more frustrating.

"how was the night, b?" you speak softly as he sulks into your bedroom, his suit jacket long abandoned elsewhere in the manor.

he only hums in response.

"that bad, huh?" you put down your book and got up from the bed, smoothly making your way over to him. as you get closer, you catch the furrow of his brow and the dip of his frown. "c'mon, lets get to bed, yeah?"

"please." it's a quiet reply, low in the back of his throat.

you make quick work of his cufflinks and the buttons of his shirt, and in no time at all, he's in nothing more than a pair of briefs.

"why don't i go with you next time?" you pull him towards the bed, "i mean, i don't mind wrangling the public." in a swift motion, you fall onto the bed.

"i won't ask that of you."

"that's why i'm offering, baby," you smile up at him, motioning for him to lay down next to him. "if it'd ease your nerves, i would be happy to go with you." you press one kiss to his shoulder, then another just above that one until you reach the edge of his jaw.

bruce wraps a warm hand around you, pulling you closer to him, and you simply continue trailing kisses across his jaw, his cheeks, until just before you reach his lips.

"i would do just about anything if it meant making you happy."

"i know," he whispers at you, deep blue eyes staring intently into yours. a careful hand works its way to the back of your neck and pulls you into a kiss.

DICK GRAYSON. — silencing kisses

"ugh, he was just so-" you cut yourself off with a groan, scrubbing harder at the dishes in the sink. "i mean, seriously, who on earth does that?"

dick snickers behind you, a bemused smile dancing across his face.

"the nerve of some people! why would that question even cross your-" there's a clattering of dishes as one slipps out of your hand. "god dammit!"

"hey, c'mon," dick's hands are suddenly around your waist, "why don't we take a break?"

you turn to face him now, frustration painted on every plane of your face. "no, i need to finish the dishes, or they'll just sit-"

"we can finish them tomorrow," he says with an easy smile, and it's hard not to listen to his voice of reason when he looks at you that way. it's all soft eyes flitting across your face from your eyes to your lips.

"i know the way we are," you huff, "they'll never get done."

"i promise i'll help you tomorrow." he squeezes your waist reassuringly, pulling you towards him and away from the already doomed dream of finishing the dishes tonight.

"but you said you had to-"

"nope, i'm helping you with dishes now. that's the plan."

"but you're already behind on-"

he cuts you off with a kiss, slow and gentle. "i can worry about that tomorrow."

"you really shouldn't-"

he cuts you off yet again, a cheeky grin spreading on his face. "i can keep doing this all night if you really want me to."

"dick," you groaned, your head falling onto his shoulder. he only wrapped his arms around you tighter.

"i can tell when you're saying my name and when you're not, y'know," mirth lacing his words, and you can't help but crack a smile. "you're always telling me to take care of myself, so let me do that for you just this once, okay?"

JASON TODD. — breathless kisses

the adrenaline of the night is already starting to wear thin as you rounded a corner into a dark alley, jason trailing after you. laughter is in the air, and for the first time in a long time, a patrol feels like something more than a task to complete.

"careful, red, it looks like you're getting slow!" you call back to him, feet pounding across the pavement as you race forward towards the fire escape of the building ahead of you.

"oh, yeah?" he shouts in return, fighting to keep the smile out of his voice—even through the mask. he pushes himself forward, ignoring the burn in his legs from the exertion of the night. within a moment, he's past you, using a grapple to propel himself to the top of the building.

"that's cheating!" you scale the fire escape as quickly as you can, panting by the time you reach the top. jason is already a rooftop over by the time you get there, and it's a good thing you're faster on foot than he is—even if only just.

he simply laughs, continuing his dash to the safe house only a few blocks away. you manage to catch up to him, heart beating out of your chest as you both run in tandem, leaping over gaps between buildings and trying to trip each other up. it's only once you both run down yet another fire escape leading to the window of your shared apartment that jason pulls forward once and for all, a grin under his mask as he hears you groan behind him.

in one swift movement, he slides the window open and slips inside. once you get inside, jason already has his mask off and there's a smug smirk on his face.

"what was that about me getting slow?" his chest is still heaving.

you can't help but laugh. "only because you cheated!"

"no such thing in gotham, baby." he pulls you forward by the arm, pressing a short kiss to your lips.

you smile at him, rolling your eyes and still breathing heavily. jason's eyes flit between yours and your lips for no longer than a moment before he kisses you again.

between light, breathless kisses, his hands find themselves wrapped around your waist, and before you know it he has you both dropping onto the couch. your legs are spread over his lap, and you pull away for just a second, forehead pressed to his.

"as much as i love the whole body armor look, why don't we take all this off, yeah?" you murmur.

"i like the sound of that."

[skyahri]

How They Found Out |Naruto Boys X Reader| HC

Part Two Masterlist Ko-fi

Characters: Sasuke Uchiha, Naruto Uzumaki, Shikamaru Nara, Kakashi Hatake

Summary: How your relationship ended up being revealed.

Warnings: Naruto's is short af because he's an open book. Deal with it. NSFW themes. Mentions of sex and being caught.

- - - - -

Sasuke Uchiha

You'd been together for about a year at this point. In the beginning, you'd agreed to keep it hush-hush until you'd figured things out.

Before you knew it, it'd been more than six months since your first date, and it was still secret. You enjoyed the privacy of it, but didn't enjoy hiding things from your friends.

So you decided to stop actively keeping it a secret and instead allow things to come out naturally.

But that was six months ago and still no one knew.

Sasuke hated PDA and no one had asked either of you about relationship stuff, so it was still quiet.

That is until today.

You two were victims of Narutos' lack of boundaries and awareness.

It was late at night, about 11pm, you were in Sasuke's apartment.

He was drilling into you, his hands holding down your legs and mouth connected to your neck.

You were too busy enjoying the all encompassing feeling of him fucking you, and he was too busy ravaging you to hear Naruto enter the front door.

Suddenly, the bedroom door swings open. Narutos face very quickly goes from his usual happy-go-lucky to a horrified, dramatic look.

Sasuke is quick to cover you with the sheets before he yells at Naruto to get the Hell out.

Naruto is already way ahead of him, bolting straight out the front door and to God knows where.

After that, it wasn't long before the whole village knew. Honestly, once Gai found out, there was no one who didn't know.

Naruto Uzumaki

Find out? Ha! There is no finding out because he immediately told anyone and everyone the second you agreed to a date.

If he did somehow manage to keep it quiet, it really wouldn't be long until it got out.

Hes just so... excited to be with you.

He likes showing you off like a prize. He likes going on dates and holding your hand and loudly proclaiming that you're his.

You don't mind, of course.

Shikamaru Nara

You two lay around together most days. A while back, you shared a kiss, and it very VERY slowly escalated from there.

It was almost six months before you actually had sex.

Mostly because he'd somehow rationalized kissing was "just something you guys did" and didn't require any extra thought.

The sex was amazing. Slow and passionate, just like you'd expect from the lazy Nara.

And so things continued on like that. A relationship had formed, but it was never something either of you talked about.

You liked his parents and they liked you. You'd help his mom with dinner some nights and played Shogi with Shikaku. They didn't question your relationship either.

Things stayed on the down low for almost eighteen months before someone finally brought up something regarding his romantic life.

"So, Shikamaru, who was your first kiss?" Choji asked one night in the bath house.

The question caught him off guard since he wasn't usually included in these types of conversations. (They mostly assumed he wasn't interested in women, or something like that.)

"Hm? Oh, Y/N."

Cue the silence. Then total chaos.

"What?? When was this?" Kiba asked.

"I don't know... sometime around the solstice last year."

That sparked a lot of questions from his friends, only some of which he'd answered.

The guys relayed all the information to the girls the next day, where they then went and hounded you for answers.

Despite all of your friends knowing about your relationship, nothing changed between you and Shikamaru.

You just stayed... whatever it is you were.

Kakashi Hatake

Gai, Kurenai, and Iruka all had their suspicions about you two but had nothing to back it up. It's been years at this point, yet they still come up empty-handed.

That is, until Kakashi’s students decided they were interested in his love life, and began to poke around.

It's after the war; Naruto, Sakura, and Sasuke are fully grown adults, but something is just so tempting about reverting to their youthful days of trying to spy on their sensei.

Kakashi is all for it, partially because he's glad his students are getting along again, and partially because he's grown tired of keeping secrets.

This is something he discusses with you, and as he predicted, you're completely on board.

You gradually make yourself seen with Kakashi over the next week- leaving the Hokage tower with him, getting dinner with him, and even allowing him to walk you to his apartment.

The kids watch all of this happen, but there's no evidence that actually proves anything, just like Gai sensei had told them in the beginning.

So they continue to stalk you two around the village. They're better at it than when they were little, but it's still pretty easy to spot them.

At the end of the week, when you're sure all three of them are watching, Kakashi kisses you in front of your front door.

You watch as they all zip away, surely off to meet up or possibly report back to your friends.

You and Kakashi can only laugh.

[shitpostingkats]

An Asexual's love letter to Good Omens 2

There's an infamous quote by Neil Gaiman going around, regarding the general vibe of season 2, and many people (I believe humorously) yelling that it could not be further from the truth. Particularly in the last episode, where that happens.

I disagree.

The final episode of season 2 was deeply, deeply comforting to me. 

I am asexual. Have been my whole life. Even before I had the words to describe what that was, child-me had this feeling in their gut of being an outlier, that everyone was exaggerating, or in on some joke, that I wasn’t privy to. Because I was bombarded on all sides by shows and movies and books, telling the same story of love, again, and again, and AGAIN. It’s drilled into our brains with the same fervor as the days of the week, or the quadratic formula. Meet-cute -> misunderstanding ->declaration of feelings ->kiss. More or less steps can be added to account for runtime or complexity of narrative, but that’s the basic structure that a relationship follows. It MUST be, because that’s the formula every character who's ever been in a story goes through, often times when it even feels like an add-on, like it’s only there because this is a story, there HAS to be a romance. And it has to follow the steps.

For a long time, I felt love wasn’t for me, because if there’s only one way to be in love, I sure as hell wasn’t feeling it. 

Instead, the relationship I ended up in looked a lot like what Beezlebub and Gabriel go through. Meeting someone routinely until it starts to feel comfortable. Getting to know them and slowly growing more attached. Eating chips and listening to music.

We like to joke whenever someone asks us how long we’ve been together, because the answer is we just sort of slowly fell into it, and we honestly don’t know when the line got blurred between ‘friends’ and ‘partners’. And, at least for me, a good deal of that confusion, that hesitancy to label, came from the fact that what I was feeling, what we were, couldn’t be love. It couldn’t be romantic. 

We were just quiet and gentle.

And that wasn’t love.

Because it was slow, because it wasn’t physical, because there was no structure aside from consistency and companionship. Because it didn’t follow the Rules.

Then I found myself in stories, and it felt like a revelation.

Beelzebub and Gabriel aren’t the first time I’ve seen a love like I feel represented in a narrative, but it never stops feeling special. And I don’t know if I’ll ever stop celebrating it.

Throughout the sequence in the pub, I kept expecting them to “confirm” Gabriel and Beelzebub. A dramatic line, a kiss, a whatever. That’s what I’ve been taught to expect, after all, that’s the only way a relationship is “real”. Of course, this doesn't mean Crowley and Aziraphale sharing a dramatic kiss is wrong, or that I can’t see why it resonated with so many people, but for me. Those moments in the pub are worth so much more.The last scene might have been literally showstopping, but those handful of moments between the duke of hell and an archangel were the beating heart of the season for me. A simple love story in four scenes. No kisses. No ‘I love you’s. Not even any definition of what. The love Gabriel and Beelzebub have is strong enough for them to both want to shatter their worlds and flee their lives and it's just. 

It's just that. 

Two people in a pub, playing the other's favorite song, giving a little gift, buying a packet of crisps. 

That sequence means far more to me than any kiss ever could.

Love isn’t only real when it's hot and sudden and ephemeral, it can also be

Quiet.

And gentle.

And still romantic.

Still real.

[spectorgram]

eyes wide open

pairing: theodore nott x f! reader summary: you discover that there is so much more to theodore nott than you thought.  content: gryffindor! reader, semi-nsfw (characters are 18+) word count: 5.46k

You have never spoken to Theodore Nott before. You’ve him around a lot, usually with Mattheo Riddle or Lorenzo Berkshire, and he is a regular on the quidditch team — a chaser — so you’d see him zoom by during matches. He’s also in a majority of your classes for this year, which lets you observe him from afar. But past that, you’ve never really had much to do with him beyond seeing him with Malfoy and witnessing how he stands quietly — with either a small smirk or a look of complete apathy on his face — while Malfoy and your friends argue back and forth. 

Having class with Theodore Nott has let you learn three things about him: he’s quiet, whip-sharp, and unbelievably handsome. You didn’t need classes with him to know the last one is a well-known fact; he’s constantly noted as one of the most attractive of your classmates. “Shame he’s a Slytherin,” Lavender Brown once said to you, which had made you roll your eyes and retort, “And what’s wrong with that?” It had gotten you into a big fight and you don’t think she’s spoken to you since, not that you’ve really wanted her to. 

“Are you sure you don’t want to come with us?” Ron asks you as he, Hermione, Harry, and Ginny stand at the entrance to the Gryffindor common room. “Mum would love to have you. She’s always banging on about what a lovely girl you are and how polite you were.”

“And I’m sure Fred would love to see you,” Ginny adds. 

You snort, “I’m really sure. But please give my regards to your mother and Fred.”

“Will do,” Ginny says with a two-finger salute. 

Your friends say their farewells as they leave through the portrait hall. You flop against the plush velvet of the couch, staring at the roaring fire. Your parents were on a months-long that brought them to see famous wizarding landmarks so you’re stuck at Hogwarts for the holiday. You’re a little disappointed that you won’t be with your family but another part of you is excited to be in the castle when it’s less populated. You’ll finally get to make your way through the massive pile of books you have at your bedside since you’re usually caught up in listening to and gossiping with your roommates. 

You head up to your room, empty except for you and your owl hooting in his cage. You wiggle your fingers inside, Ramses rubbing his feathery head against them. You grab the first book from the top of your pile, turning the leather-bound edition over in your hand. Hermione gifted it to you for your last birthday: William Shakespeare’s Romeo and Juliet. You shimmy into your gold and red striped sweater and tuck the book underneath your arm, walking down to the dining hall for dinner. 

Students are scattered around the Great Hall, some chattering with their friends while others eat silently. The ceiling has shifted to depict a clear night sky, floating candles casting an orange glow. You spot Mattheo Riddle alone at the Slytherin tables but the way he keeps looking to the door makes you assume he’s waiting for a friend. You settle down on a bench all to yourself, piling your plate with the mouthwatering selections available to you. 

You rest your chin on your fist, cracking open the play. You get only a few pages in when you hear a familiar low voice. “All alone, little lion?” His eyes examine you and you suddenly feel too exposed despite your layers. 

You come face-to-face with Theodore Nott and his sea blue eyes. He regards you coolly and you ask, “Can I help you, Nott?”

He points at your copy of Romeo and Juliet. “Where’d you get that?”

You furrow your brow in confusion. Why in Godric’s name is Theodore Nott of all people interested in a Muggle book. You respond, “Hermione gave it to me. Why?”

“It’s hard to find Muggle books here,” he says. His eyes linger on the play. “Think I could borrow it when you’re finished?”

Your brain stalls, questions floating around your head. “Sure,” you finally answer. He nods and neither of you say anything more. The quiet that falls between you two makes you tense and you say, “Is that all, Nott?”

He considers and then says, “I think so.” He heads to the Slytherin tables without another word, sitting beside Mattheo, who’s been watching on keenly. You catch his stare and he smirks, raising a hand in a casual wave. Theodore smacks his shoulder and pulls Mattheo’s hand down. 

You sigh, shake your head in disbelief, and go back to reading the play.

It’s been a few days since your encounter with Theodore, but the interaction sticks with you. Every time you open up the play, you’re reminded of it and your curiosity returns tenfold. 

It’s odd being at school when it’s this empty. You’ve managed to occupy yourself by playing Wizard’s Chess with some fifth years, helping Professor Flitwick organize his classroom and the Frog Choir’s practice room, and working on knitting gifts to give you friends when they return. 

You’re sitting in the Gryffindor common room, working on Harry’s scarf, when you spill a cup of tea one of the house elves had made for you. Cursing, you move your knitting out of the way and survey the damage to your sweatshirt. With a groan, you gather your things and bring them to your dorm, blotting out the growing stain with water and letting it dry over the edge of the bathtub. 

You slip into a forest green sweater and throw a brown corduroy jacket over it. You grab your copy of Romeo and Juliet and head down to the Black Lake. The cold breezes nip at your cheek and carries the scent of pine trees, which you inhale gratefully. You plop yourself underneath a tree on the shore of the lake, reclining against the trunk and cracking open the book.  

You’re not even a page in when you hear a familiar voice call your name. Your hold on your book tightens but you peer up, watching Theodore approach. He’s in a dark wool overcoat and similarly dark trousers, hands tucked into his coat pockets. His strides are leisurely and long, reaching you in only a handful of steps. 

He stands tall in front of you, shadow cast long in the afternoon sun. His gaze roams over you and he says, “Isn’t wearing green considered treacherous for you?”

You’re confused for a second before you follow his line of sight and glance down at your own sweater. Right. You reply, “No more than it would be for you to wear red.”

The corner of his lip twitches up in a small, half-smile and he says, “High treason then.”

You echo your words from earlier in the week: “Can I help you, Nott?”

He ignores your question, instead choosing to tip his chin at your book. “What part are you at?”

“Mercutio’s died in his duel with Tybalt.”

He nods and recites, “‘A plague o’ both your houses. They have made worms’ meat of me: I have it, and soundly too: your houses.’”

You don’t bother to hide your surprise. “You’ve read it?”

“Haven’t most people?”

“Sure, most people know the story but they don’t usually read it. 

“I’ve read it a couple of times,” he admits. He adds, “My mother’s favorite book.”

“I see. Is that why you want to borrow it from me?”

“Yeah.”

Silence falls between the pair of you. Distantly, there’s a cry of crows. Theodore is still standing above you, gazing down, and you squirm a little. He then says, “I always liked Benvolio.”

You’re reminded that Theodore’s half-Italian in the way he says ‘Benvolio,’ accent smooth and lilting. It suddenly feels a little too warm under your coat but you ignore it. You instead blurt out, “Of course you would. You’re kind of like him.” 

Theodore raises one eyebrow and you feel your face heat even more, embarrassed, and you hope he doesn’t take it as a bad thing. He doesn’t seem offended though and asks, “Oh, how so?”

“I mean,” you say, “you are— well, you seem like the most reasonable of your friends. A mediator of some sort.” 

“That sounds about right,” he says. “You remind me of Juliet.”

“Really? Why’s that?” You’re not sure if you should take it as a good thing or not.

“Well, she has a solid set of beliefs and stands up for them. She knows herself; she tells her parents that she doesn’t want to marry Paris, not just because she’s in love with Romeo but also because she knows she’ll be unhappy. What is it she says? ‘Now, by Saint Peter’s Church, and Peter too, he shall not make me there a joyful bride! I wonder at this haste, that I must wed ere he that should be husband comes to woo.’”

Theodore’s mouth lifts in a tiny, lopsided smile again and he says, “Plus, she’s the one most of the guys fawn over, right?”

You’re left to gape at him in shock and awe, processing what he just said as he turns and walks back to the castle along the shore, just outside the gentle lapping of the water. You watch his retreating figure, watch as he grows smaller and smaller and eventually disappears. 

You don’t get much reading done, the book remaining open in your lap and your eyes fixed on the spot where Theodore once stood.

You sit there until the top curve of the sun is just peeking out over the horizon and you stand, still a tad dazed, and make your long walk back to Hogwarts. 

It’s just past one in the morning and you can’t sleep, tossing and turning fitfully. Theodore Nott and his long shadow and his blue eyes keep appearing behind your eyelids, no matter how much you try to shove the thoughts out. You want to bang your head on one of the wooden poles holding up the canopy of your four-poster bed, but you opt for sliding on your slippers and going down to the kitchens to see if the house elves have any leftover brownies from dinner. Maybe they could warm up a mug of hot cocoa for you too.

You shuffle through the hallway, the chill of the castle waking you up. You rub your hands along your arms, wishing you had worn something over your pajamas. Since it’s break, restrictions about when and where students could go are essentially non-existent. You pass Filch, who scowls at you, clearly aggrieved that he can’t punish you for being out of bed, and Nearly-Headless Nick, who greets you cheerfully and questions you as to why you’re up at such a time. “Can’t sleep,” you explain. “I’m checking if the elves have any midnight snacks for me.”

He chuckles, “An excellent reason but don’t stay up too late, or you’ll wind up like me!” He laughs hard at his joke and you can’t help but giggle, bidding him a goodnight as you descend into the basement. 

You nearly run right into Theodore as you approach the kitchens. You jump at least a foot, clasping your hands over your chest. “Merlin’s beard, you scared me!”

“Could say the same for you,” he says. “Nice pajamas.”

You forgot you were in a tank top and shorts. You cross your arms and say, “You seem awfully fixated on my clothes, Nott.” You try to look as threatening as you can but the slight tremble to your body takes away any effect.

Theodore rolls his eyes and slides the robe he donned over his striped pajamas off, holding it out to you. When you don’t take it, he just throws it over your shoulders, the weight comfortable and warm. You say, “You keep popping up out of nowhere. Are you stalking me or something?”

He snorts, “You would never know if I was. But no, Mattheo’s snoring kept me up. I figured I should take advantage of my insomnia and grab some brownies from dessert.”

“Great minds think alike then,” you say. 

You and Theodore walk down the corridor towards the kitchen when he asks, “Have you finished the book?”

“No, didn’t get a lot of reading done after you left.”

“Did I distract you that much?” He looks smug, smirking, and it’s your turn to roll your eyes.

“In your dreams.”

“Yeah,” he says. “When do you think you’ll finish?”

“Bloody hell, you’re impatient,” you groan, rubbing your temples. You’re not sure what possesses you, if it’s your sleep-deprived brain or something else but you suggest, “How about this? You grab brownies and cocoa for us and I’ll get the damn book and we’ll meet in the Clock Tower and read it together.”

Theodore considers it for a moment before he says, “Alright. I’ll meet you there in fifteen.”

“Perfect.” You scurry back to the Gryffindor dorms. Nearly-Headless Nick queries as to where your snacks are but you don’t answer, moving swiftly. You enter your dorm room, only pausing for a moment to catch your breath. Your heart is pounding but you can’t tell if it’s from the journey or from the thought of sitting alone in the Clock Tower with Theodore Nott. You don’t let yourself dwell on it and you pick up Romeo and Juliet and climb the stairs to the Clock Tower. 

Theodore has beaten you there, already sitting up against the glass of the clock. The frost on the glass obstructs some of the moonbeams streaming in but it’s just enough light to read. In the moonlight, Theodore’s hair looks lighter and more burnt golden than brown. He takes a sip of his cocoa and holds out a ceramic mug to you as you settle next to him. You accept it gratefully, plucking a brownie from the plate between you two. 

You flip through the play to find where you left off, the page dog-earred. Theodore makes a sound at the back of his throat. “What?”

“Don’t you have a bookmark or something?”

“No. Leave my marking choices out of it.”

He snickers and leans over you to get a better look at the text. Your shoulders brush and you’re all too aware that he smells of chocolate and sandalwood. His smell is clean and distinct; his robe smells like that too. 

As you two begin to read, Theodore tells you to turn back or move forward. You eventually figure out a rhythm, knowing exactly when to do so. You’re about ten minutes into reading when you feel Theodore’s gaze on you. You remain still, wondering if he’ll stop but when he doesn’t you mumble, “Stop doing that.”

“Doing what?”

“Staring.” “Does it bother you?”

“It feels like you can see into my soul.”

“You didn’t answer my question. Does it bother you?”

You pause. “I don’t… I don’t know.” A beat. “Why are you?”

“Why am I what?”

“Staring at me.”

His voice drops, somehow deeper than you have ever heard it. “Because I like to.”

Your head whips to him but no words leave your mouth. He regards you carefully and asks again, “Does that bother you?”

You hesitate. Then, “No, it doesn’t.”

He hums and you think he’ll do… something but he just ducks his head back down to read and you let out of the breath you didn’t know you were holding, disappointment pooling in your stomach. You don’t know what you wanted him to do. You don’t know why you’re disappointed. 

You two read until your eyes grow heavy. You struggle to keep your lids open, head jolting up when you realize you’re drifting off. Theodore taps your shoulder and says, “We can stop here. Pick up another time.”

“Yeah,” you murmur, standing and stretching. You stifle a yawn and remember you have his robe on. You begin to take it off but he says, “Keep it. You can give it back tomorrow.”

“Tomorrow?”

“Yeah, tomorrow. Same time, same place?”

“Okay.”

It doesn’t take you long to finish the play with Theodore only two days later. You noticed that Theodore read slower than before, telling you multiple times per session to go back a couple of pages. 

Your eyes follow the last line: For never was a story of more woe / Than this of Juliet and her Romeo, and you close the book with a dull thump. You sit in silence with Theodore, listening to the clock hand turn to the next minute. You stay like that for a while. You sip on the spiced hot chocolate the house elves prepared for you. You share sugar cookies with Theodore that are shaped like snowflakes. 

“So,” you start, breaking the silence, “this is your mother’s favorite book?”

He nods. “I think she read it a lot when her parents arranged for her to marry my father.”

“Oh.” You don’t know what else to say, adding lamely, “I’m sorry.”

“It’s okay.”

Silence. 

“Can I ask you something?” you ask.

“Yeah.”

“Why did you stay here over break?”

He stiffens, expression unreadable. He glances over at you and finally sighs. “My father’s trial is happening right around now. My family doesn’t want any of the kids around this so…” He motions to the Clock Tower, adding, “My siblings are either at their own schools or with my grandmother.”

Your heart aches at the frown on his face and you bite the inside of your cheek, unsure of how to proceed. You’re thankful when Theodore moves on. “What about you?”

“Oh, my parents are on a sight-seeing cruise so they’re not home. I got a postcard today, though, they’re in Japan now.”

“I’ve never been. How’s it look?”

“Pretty. They said their tour guide told them the best time to come is when the cherry blossoms bloom. I would like to go.”

“We’ll go together then.” 

He says it with a finality that makes you shy. “When?” is all you can ask. 

“Someday.”

You haven’t seen Theodore in a couple of days, an odd thing to try and get used to when you’ve just adjusted to him popping up wherever you are. You assume that he’s done with you now that you finished Romeo and Juliet. 

It all makes your heart sink.

You’re alone in the common room, wrapping up your gifts for your friends. You stack Harry’s scarf on top of Hermione’s mittens, Ron’s socks, and Ginny’s hat, and you lean against the couch with a huff. 

You think about the spare red yarn sitting in your room. You think there’s just enough to make another scarf. 

Theodore’s face flashes in your mind’s eye and you run a hand down your face in frustration. Whatever weird thing you had with Theodore is over. He’s probably out with Mattheo at the Three Broomsticks or something. You’ve seen them there before along with Enzo, Blaise, Draco, and Pansy as well as just with each other, usually flirting with girls there.

You didn’t used to think much of it — just scoffed along with Ron and Hermione — but now the thought makes your stomach churn. 

You think about the extra yarn in your room again and you almost can’t believe that, despite his disappearing act, you’ve decided you’ll knit a scarf for Theodore Nott.

Almost.

You’re greeted with a delicious Sunday roast for dinner on Christmas Eve: tender roasted beef, warm Yorkshire puddings, fluffy mashed potatoes, and a side of jus from the beef. You sit by yourself once again, the loneliness threatening to swallow you whole as you plate your dinner. 

Theodore seats himself right across from you and places a parcel wrapped in brown paper in front of you. You look at it in confusion and he says, “Open it.”

“What is it?”

“Christmas present.”

You raise a brow. “You got me a present?”

“Yes, now open it.”

“Shouldn’t I wait until tom—” The sharp look he gives you makes you set your fork aside and tug on the string of the bow. There are two books inside. The first is a copy of Shakespeare’s Macbeth, similarly leather-bound like Romeo and Juliet, and the second one is an ornately-decorated collector’s edition of Romeo and Juliet. 

Your jaw falls open and you whisper, “Theodore…”

He says, “Figured that we can read Macbeth together. It’s a personal favorite of mine.”

Your fingers trace the golden embossment of Romeo and Juliet, swooping down to follow the curve of the ‘J.’ “Where did you even get this?”

“Sent a lot of letters and had Mattheo help me pull strings at Flourish and Blotts.”

Your face is on fire but you grin at Theodore and say, “Thank you so much.”

“Happy Christmas,” he says and you catch the pink at the tips of his ears.

“I actually have something for you too,” you say and his eyebrows shoot up in surprise. “I’ll get it to you after dinner.”

“I’ll come with,” he says and you nod. You wonder if he’ll get up but he stays put, taking a plate and serving himself dinner. 

You two talk quietly in between bites and something dawns on you halfway through. “Where’s Mattheo?” You look over your shoulder and can’t find the other Slytherin boy.

Theodore smirks. “Might’ve slipped him a couple of galleons to leave us alone.” Your cheeks heat pleasantly. 

You two finish dinner after that and Theodore walks you to the Fat Lady’s portrait. She eyes him suspiciously, glaring at you. “You know students from other Houses aren’t permitted in the Gryffindor dorm.”

You disregard her and give her the password. Begrudgingly and with one last glower at you and Theodore, the portrait swings open and you step inside. Theodore peers around the common room and says, “Never been in here before.”

“Some Gryffindor girl hasn’t taken you back with her?” you ask but you instantly regret your teasing words. The thought of Theodore with someone else (Lavender Brown comes to mind and you scowl internally) makes you queasy.

“Can’t say that it’s happened,” he says, shooting you a cocky smirk. “You’d be the first.”

“I’m honored. Wait right here.”

Theodore flops on the couch and sighs in satisfaction. “So much more comfortable than Slytherin’s.”

“Yeah?” you ask as you retreat up the stairs. He shouts after you that Slytherin’s couches, while not wholly terrible, are stiff whereas your common room’s are plush and cushy.

Theodore’s scarf, knit in a red cashmere, lays innocuously on your bed. You’re abruptly self-conscious of it; Theodore got you two beautiful and likely expensive books and you knit him a measly scarf in colors that aren’t his House’s. 

Merlin, you think, what if he hates it?  Only one way to find out, you suppose. With a deep breath, you pick it up and hide it behind your back. You peek into the common room, where Theodore lounges on the couch, his figure long and relaxed. His shirt has ridden up a little and you spy a sliver of the toned muscle of his stomach. 

“Close your eyes,” you say. You watch his eyes shut, unfairly long lashes brushing his cheekbone. You creep into the room, halting in front of him. The flames dancing in the fireplace are the only excuse you can come up with for why you’re so warm. “Hold out your hands.”

He sits up straight and does as he’s told. You say, “It’s not wrapped.”

“That’s alright.”

You inhale, exhale, and gingerly place the scarf in his hands. He opens his eyes and inspects the scarf, rubbing the knit yarn in between his fingers. You hold your breath.

His face breaks into the biggest grin you’ve ever seen on him. He looks—

He looks beautiful. He’s always handsome, yes, but he’s beautiful here.

“This is really nice. You make it yourself?”

You hum in affirmation and he loops it around his neck, standing and spinning around playfully. “How do I look?”

“I think red’s definitely your color,” you tell him, your own cheeks hurting from how widely you’re beaming. 

Theodore takes a step closer, his shoes nearly knocking into yours. The glee in his expression morphs slowly into something different. It’s not anything bad, but it’s somehow more intense and softer than before. “Thank you,” he says.

“You’re welcome. Thank you again for the books.”

“You’re welcome.”

The fireplace crackles, embers spitting.

You’re not sure who moves first. Your mouths crash against each other like waves against a bluff, all lips and teeth and tongue. Your hands are everywhere, in his hair, clutching his shoulders, cupping his face. His hands are just as frantic, grabbing at your waist and hips, squeezing you tight against him. 

You two come up for air but you don’t surface for long. Despite the way he’s worked up, he’s careful in unwinding the scarf from his neck and draping it over a nearby arm chair. Then, he’s on you again, pulling you flush against him. 

He guides you to his lap as he sits back on the couch, lips never leaving yours. You straddle his thighs, tugging lighty at his curls. He moans into your mouth. Your hips move against his. His fingers, long and cold, creep under your shirt and send a shiver down your spine. 

His mouth only leaves yours to latch onto your neck, sucking and licking and nipping. You whine and push yourself against him harder, your hands clumsily trying to undo the buttons of his shirt. He helps you, flinging it off his shoulders, and pulling your own off your torso. 

“Fuck,” he groans, chest heaving as he takes in the view of you. He’s staring at you like you’re some sort of goddess. “Fuck, you’re beautiful, amorina.”

You melt under his gaze. His ocean blue eyes are a little glazed and his mouth is kiss-swollen and ajar. Godric, he’s one to talk. You lean in closer, tracing his jaw and letting your hand trail down his neck, his chest, down to his stomach. You graze the top of his trousers and lightly scrap your nails over the skin just above. He hisses, hips bucking, and before you can say anything to him, he’s yanking you down for a kiss. 

It’s slower, no less passionate but less frenzied, and you only break apart to whisper, “Bedroom, Nott.” 

He doesn’t say another word, springing from the couch, grabbing the scarf you made him, and dragging you up to your dorm. As soon as he’s inside, he sets the scarf on your bedside table and pushes you down onto the mattress, climbing on after you. 

You squeal as he peppers kisses along your neck. “Theo,” he murmurs against the skin of your collarbone. “Call me Theo.”

“Okay,” you say, testing it out. “Theo.” His hips slot against yours once more and you cant your up. He slips a hand down your pants and when he presses his palm against you, you whine, “Theo!”

Another rumbling moan, “Amorina, you don’t know what you do to me.” Another long, hard kiss. Your hands move to unbutton his trousers. 

You don’t care how sweaty and sticky you are as you lay panting against Theo’s chest, feeling the way it rises and falls in rapid succession. You listen to his racing heartbeat and he places a sweet kiss to the top of your head. 

As you two catch your breath, Theo says, “I think Juliet should have gone with Benvolio.”

You look at him like he’s crazy. “That’s really what you’re thinking about?”

He winks at you. “Of course not. I’ve been thinking about it since we finished the book.”

You slap his chest playfully and ask the obvious question: “Why do you think so?” 

“Well, you said I’m like Benvolio and I told you you remind me of Juliet.”

“Huh?” You think for a couple of seconds and then it clicks. “Oh!” You take in Theo’s half-lidded eyes staring at you. “Oh…” 

He dips down to kiss you again.

Over the break, you’ve expanded on what you know about Theodore Nott. One, he’s quiet because he’s thoughtful, always observing, always analyzing, and storing away information for whatever purpose he’d like to use it for. 

Two, he’s whip-sharp — you see it in the way he can quote Shakespeare plays like second-nature; in how he easily banters with you, always coming back with a swift reply and a cheeky smile. 

Lastly, he’s unbelievably handsome. You knew this before but it’s different now. You admire the way he holds himself with an unflagging confidence, how he has these rare full-bellied laughs that make you crave the sound. But you think he’s most handsome when you sit together, cloistered away in the Clock Tower, reading Romeo and Juliet and now Macbeth together. You’re so close, you can smell the peppermint on his breath from the candy canes the house elves snuck you. You can see all the shades of blue in his eyes. You can count the beauty marks on his face. 

This close, you can lean over and kiss him and delight in the way your heart thrums when he reciprocates, cradling your face and coaxing you into him. 

You spend the majority of the rest of the break wrapped up in Theo’s arms. By the last day, you’re sure you have snuck each other into your dorms more times than either of you can count. You hang out a few times with Mattheo, who turns out to be not as bad as your friends make him out to be. He’s sharp and quick-witted like Theo with a tendency towards the dramatics that makes you laugh. 

You’re sitting at the same spot underneath the tree at the Black Lake, Theo relaxing between your legs. He’s swaddled in the same black overcoat you saw him in before, only this time, the red scarf you knit is starkly bright against the coat. You card your fingers through his soft curls, ducking to peck his forehead. He tilts his head upwards and smiles boyishly at you and it makes you giggle, planting a kiss on his mouth. He brings your hand down to his lips, kissing each fingertip.

You relish the quiet with him, knowing that tomorrow will be a flurry of activity with students and faculty returning from winter holiday. It makes you sigh, the thought of leaving the little world you and Theo have created. Your relationship is only a couple of days old and you can’t deny that you’re anxious about your friends coming back. 

As if sensing your nervousness, Theo sits up and spins around to face you. You attempt to plaster on a reassuring smile but it’s wobbly and uneasy. He cradles your face with one hand, thumb stroking your cheekbone. “What’s wrong, cara mia?”

“I don’t know,” you mumble. He tilts his head, raising an eyebrow with an expression that tells you he knows you’re lying. “What are we going to do when everyone comes back?”

“What do you mean?”

“Theo, our friends all despise each other.”

He replies, “So? Just because they don’t like each other doesn’t mean we can’t.” He kisses the back of your hand. “And I happen to like you very much.”

You smile weakly at him. “I know, and I like you very much as well. It’s just…” You can picture the dawning horror on Ron’s face and the grimaces on Hermione and Harry’s. 

Theo’s mouth turns downward and he asks, “Why do you care what they think?”

“Don’t you care what your friends think?”

“No,” he says firmly, adding, “Plus, Mattheo likes you so who’s to say everyone else won’t?”

“Theo…”

He repeats, “Why do you care?”

“I just don’t want anything to ruin this, ruin us.”

“They can only ruin it if we let them and we won’t.”

“You don’t know that for sure! We’re still in the early stages of our relationship.”

“Do you not have faith that we’ll stay together?” he asks.

“I do! It’s—” You sigh in frustration, brow furrowed. “I just want to preserve what we have without outside influence. Please, can we just wait a little to tell everyone?”

You wish you didn’t see the way Theo’s expression falters, hurt passing across briefly before he wipes it away.  He’s studying your face, eyes dark and unreadable but he nods. “Fine. But you have to promise me that it’s just for a little while.”

“I promise.”

“Alright. I’ll tell Mattheo not to open his big mouth.”

“Thank you, Theo,” you say. This time, you reach for his hand and peck his knuckles. His shoulders lose their tension and he bends towards you, mouth ghosting against your neck. You squeal and giggle and you feel him smile against your skin.

author's note: at long last, the theo nott fic i teased months ago... this fic was supposed to be a lot longer but i when i went back to college and hit a major writer's block, it just languished. i'm proud of what i've written, which is why i want to post it, but please excuse the kind of abrupt end. there is a potential continuation in the future <3

[heavenlymorals]

Details that I've noticed about Arthur Morgan-

-He, for the most part, despises male touch, especially if it's overly affectionate. He gets tense anytime a man hugs him and wants it to be over as quick as possible (Jamie, Mickey) and he looks visibly offended when Professor Bell touches him. He even sometimes gets annoyed when Dutch touches him on his shoulder, someone who he considers a father figure.

-On the flip side, he does not mind female touch at all. He even initiates it sometimes (Tilly, the girl at Beaver Hollow). Now one could argue that they were high stress situations, but if Tilly was a dude, he would've just set her free, make a snide remark, give her a gun, and then he'd expect her to help him with the fighting. He is completely cool with the nun giving him a hug and doesn't get offended when Mary Beth touches his hand in their therapy session.

- He seems to be pretty well read. He knows Shakespeare, with Romeo and Juliet, and Icarus. He makes other literary references. This is probably due to Dutch. Dutch is clearly very well read and cultured. However, Arthur seems more interested in practical works like guides then philosophy and stories, given that the only book he has on his tent desk is a plant guide.

- He's great at remembering faces and less so on remembering names.

- He does have an amazing propensity to remember physical features, like how he is able to create amazing portraits of the people he meets without consistent reference. It's incredible and works back to the whole great at remembering faces thing. Same goes for animals.

- He is very curious. He is always touching things, looking at things, critiquing things, and trying to understand how they work.

- He generally refuses to be emotionally open with men and does it only with women- this could be due to the idea of the Cult of Domesticity. I've made a post about it before. Compare him speaking with the nun to Reverend Swanson. Compare him speaking to John about Dutch leaving him to him speaking to Sadie about Dutch leaving him.

- He is very connected or is fond of artistic people. He and Mary Beth talk about their journals. He is fond of Albert Mason's photography and helps him out. He is interested in Charles Chataney's artistic work, even if he doesn't like it or connect with it.

- Since a lot of camp members respond to Arthur's antagonizations with something like "not again" or "I knew I'd be next", it's safe to assume Arthur will go off on people from time to time, regardless if you play high or low honor.

- Does not have a fixed temperament. In some missions, he is more energetic and in others, he is more downtrodden. Very realistic and I fucking love it.

- Has direct eye content at all times- will look anyone in the eye and does not give a fuck. NPCs will look away from him if he stares at them.

- Gets mad when men don't behave like men, especially when it concerns women. He gets pissed at John for not stepping up and being a man to his family. He gets annoyed and even pissed off when asking why Beau couldn't have helped Penelope Braithwaite as she is his woman.

- Given how the camp falls to shit whenever Arthur isn't donating, we can safely conclude that Arthur is the most valuable member of that camp, bar maybe Hosea and Dutch.

- He is very reminiscent of the Dark Romantic, which is really interesting as a lot of times, it can be looked at as the middle ground between Romantacism and Realism, two ideologies that were very popular in the 19th century. I will make a full analysis regarding this later.

- Introverted, but not shy at all. In fact, he's very charismatic and is just as good as dealing with people as Dutch and Hosea (The Riverboat Mission) This 'dumb, mumbling' cowboy thing he's dumbed down to in the fandom is an insult to his character.

- He probably acted like a father figure to Jamie Gillis when he was still with Mary, given the fact that he taught him how to ride a horse. Will probably also make a full post about this later.

- Some people say that Arthur is around 5'10-11. Others say He's 6'0-3. Whatever his height actually is, he's still way taller than the average man during this time period, who was around 5'6. Now imagine that with muscles and armed to the teeth- fucking terrifying.

- Very sentimental. He keeps a photo of his supposedly no good Pa and wears his hat. He keeps a photo of his mother who he doesn't really remember at all. He keeps a photo of his dog, a horseshoe that probably belonged to a dead and beloved horse. He keeps a flower from his mother. Keeps a photo of Mary as well. If he had a photo of Isaac, he'd probably keep that too.

-Arthur died at 36 years old from Tuberculosis if you play high honor. The real gunslinger and outlaw Doc Holliday died at the same exact age and the same exact way.

- Genuinely doesn't give a fuck about movements, social issues, and cultural issues, but does care about individual people.

- I love him

- So fucking much

- 😃

[randomness-is-my-order]

i think one of the most wonderful traits of wei wuxian is how socially competent he is, which is why it always annoys me if he is mischaracterized as someone who is unaware about how those around him feel, just because of the way his relationship with lan wangji pans out in the books. the dynamic between them was extremely multifaceted and what seemed obvious to us was very rightfully NOT obvious to wei wuxian and he hardly had time to sort those feelings out, given the kind of harrowing ordeals he was going through. but that aside–the way wei wuxian’s “social competence” manifests isn’t just social courage–in that, the risk of embarassment or self-consciousness doesn’t stop his self expression–or just his general forwardness and social butterfly tendencies but also–and imo, most importantly–his perceptiveness and astute reading of people around him which comes from a deep understanding of the human social element, at the individual and the societal level.

he has full awareness of how his station is looked down upon in the cultivation world and so while others in his situation may bend or break–wei wuxian cleverly toes the line between the two until taking a stance becomes necessary. he deeply understands the ugly dynamics running within the jiang family and clan and acts accordingly–be it his prompt efforts to placate jiang cheng or his conscious silence when madame yu is in a mood or even his acceptance of the whipping in lieu of restoring stability for the clan. despite his personal biases against jin zixuan, he can recognise his bravery. even his scandalous move to begin undressing in the cave shows that he knows exactly what would make lan wangji tick.

hell, i’d say even his initial thought about how the resentment of the dead can be redirected towards a target shows his striking comprehension of how emotions work in general. what’s more, he’s able to recognise the machinations nie huaisang had employed and he was also aware of the bigger picture associated with how fickle and easily swayed mob mentality was when everyone took part in bashing jin guangyao when certain truths came to light. when he was first brought back to life, he quickly and correctly deduced what kind of life mo xuanyu must have led and how he could act in order to easily humiliate the mo family. he empathised with jin ling and yet realised how he was brought up left something to be desired and so, tried to inculcate some of his own highly regarded values to him.

the deft manner in which he handled the juniors speaks for itself–a good teacher will always have good communication skills and wei wuxian went above and beyond just “good”. his people skills on nighthunts are extremely helpful–his ability to make tongues loose simply by charming people is highlighted more than once. just off the top of my head–him politely appealing to jin guangshan about the wen remnants and apologising for “intruding”, him readily handing in his sword at the indoctrination camps, him suggesting to jiang cheng that he should leave the clan once he was at the burial mounds–all of this (and much much more) demonstrates wei wuxian’s competence at guaging complex social dynamics, which is why, when he goes against the current and stands firm, it is a deliberate, well thought out decision, one made after considering the risks and repercussions, and that makes wei wuxian’s stance at the end that much more powerful. he is not stumbling his way through life, is not unheeding of his social status, is not a “mad genius with poor social skills”. hell, i would say wei wuxian’s ability to see straight through people is more impressive than even his insane intellect and to reduce that aspect of him feels like a disservice to his character. because when it comes down to it, the fact of the matter is that the murky social world through wei wuxian’s lens is actually astonishingly clear.

[raven-at-the-writing-desk]

sebek and his big ol' heart

Y’all thought I would be writing an extensive analysis on [REDACTED] or Skully but JOKE’S ON YOU, I love my lame idiot child Sebek 😭

When I tell you I actually CRIED MULTIPLE TIMES reading his Nightmare Suit vignettes… because all the pieces fit together SO well…

Before reading this (long) post, I’d like to ask that you also take your time to read this analysis and this analysis. They will help you understand some of the points I made later regarding Sebek and his internalized racism + how he expresses himself.

Have your recommended reading done? Great, then let’s hop to it!

***Spoilers for Sebek's Nightmare Suit vignettes, book 7, and various other Sebek and Silver card vignettes.***

Sebek is one of those characters that lives in infamy for how much time he takes to get warmed up to. He presents himself as loud and brazen, with these traits often earning him the ire of both in-universe peers and irl fans alike. Worst case scenario, Sebek can be seen as someone who is outright hateful. He’s rude to most people (including Silver, his childhood friend, sometimes), denounces humans, acts like Malleus can do nothing wrong, and doesn’t seem to respect his own father.

Well, I’m here today to tell you those claims are false and that Sebek is actually capable of so, so much love. All you need to really do is look at his Nightmare Suit vignettes—and how well they connect with the rest of his lore—to understand what I mean.

The vignettes start with Jack Skellington finishing a bento that Sally made for him. Sebek tells Jack that he should now return the basket that the bento was delivered in to her and to let her know what he thinks of her meals, but Jack says he can’t because he’s busy with Halloween preparations. Jack asks Sebek and Azul to return the basket in his stead, which they do. (These vignettes appear to be following Trey’s Nightmare Suit vignettes, as those open with Sebek and Trey seeing Sally jump out of a window with food with Jack. Sebek points out to Trey that Sally wants to hand deliver that food and says he believes there is some other reason than just being nice to Jack.)

They aren't allowed to see Sally because Dr. Finkelstein has locked her up for misbehaving, so they leave the basket. Azul advises that they also pass along Jack's comments (he had called Sally smart, thoughtful, and kind; he often forgets to have meals when he's absorbed with his work, so it's generous for her to prepare a delicious meal like this for him). Sebek loudly refuses, as he believes that hearing these grateful words from Jack himself would be much more meaningful to Sally.

He later confronts Sally at Town Hall and asks to speak with her privately (in an ALLEYWAY lol). There, Sebek flat-out tells Sally that such roundabout tactics will never help her feelings reach Jack because he's way too dense. Of course, she reacts with denial which sends Sebek into a passionate speech about the lengths Sally will go to for love (short of actually speaking about it). She literally threw herself out of a window and put herself in bodily harm to get to Jack when Dr. Finkelstein locked her in her room. She deliberately disobeyed her guardian and brainstormed a way to get out when theoretically she should not have been able to move around freely. If that's not motivated by love, then what is? Sebek declares that it's really annoying to watch Sally dance around the issue and to see her devotion go to waste. IT'S LIKE HE'S WATCHING/READING A ROMCOM AND THE TWO MAIN CHARACTERS KEEP PLAYING THE "WILL THEY, WON'T THEY" CARD... She admits that she can't share her feelings because Sally thinks she's not worthy of someone as impressive as Jack... They're not compatible. And you know how Sebek responds??? BY TELLING SALLY ABOUT WHAT IS BASICALLY TWISTED ROMEO AND JULIET... Sebek reading tragic romance confirmed 😭 He describes the story as one of two lovers whose families do not approve of their union. In desperation, the lovers try to elope--but their plan fails and they return to their warring families. Instead of committing dying like in the original tale, the lovers live the rest of their lives lamenting the outcome and how they can no longer see the person they love most. Sebek shares his own interpretation of the story and its moral: because the lovers gave up hope that they could get their families to accept one another... because they never tried to get their families to get along... because they could not properly articulate their feelings to their families... the lovers could not be together. He is convinced that if they had communicated better, the story would have a happier ending. Sebek is of the firm belief that a story itself cannot come to be without the author wanting to share their own thoughts or feelings; he even suggests that maybe the author of Romeo and Juliet experienced something similar--a regret that resulted from neglecting to express deep-seated feelings. It's not just this book either, Sebek claims to have many stories with a similar theme or miscommunication leading to conflict.

Above all, Sebek stresses to Sally that she must believe in herself and take swift, decisive action. And why does Sebek whole-heartedly throw himself into this belief? Because his own family is living proof that a happy ending is possible if you try hard for it.

If you've paid attention to Sebek lore prior to this, you'll know that he has a human father and a fae mother. Their marriage faced opposition and scrutiny in Briar Valley, a country which is isolated from the rest of the world and suffered greatly from human invaders pilfering the fae lands for resources. One of these sources of opposition and scrutiny is Sebek's own grandfather and his mother's father, Baur. Apparently, Mrs. Zigvolt married Mr. Zigvolt against the wishes of her dad.

Sebek shares even more details with Sally in his Nightmare Suit vignettes. To this day, Baur does NOT approve of his daughter's marriage--but Mrs. Zigvolt doesn't let that get her down! No, she does everything in her power to prove to her father that she made the right choice and she's perfectly content with her life. She'll send letters enclosed with photographs of her family, take her children to visit Baur's home, and invites him to join family dinners. Sebek adds that he's sure his mom made other efforts too--all to try and get Baur to acknowledge her marriage. More recently, Baur seems to have lightened up a little... as in, he always used to turn Mr. Zigvolt away at the door, but now lets him in about once a year (though Baur still avoids eye contact with him and continues to frown). Mrs. Zigvolt stubbornly believes that if she keeps this up, her dad will one day change and bless her marriage with the man she truly loves. Sally commends Sebek and his mother's ability to speak their minds loudly and proudly, but then disparages herself again by saying she can't do the same. Sebek then confesses that he can relate to Sally's frustrations. He related her feelings to his own inadequacy in serving Malleus, the powerful and noble king-to-be of his country. That feeling... Sebek describes it as akin to heartache. But instead of wallowing in that heartache, he pushes himself to close that distance between himself and his idol. If he keeps hesitating, then there is absolutely no way he can catch up to where Malleus is! Sebek must dedicate himself to becoming someone worthy of serving him. He encourages Sally to do the same through both her words and her actions! At that moment, Jack walks in and Sally makes good on Sebek's advice. (This part isn't important to the analysis on Sebek's character, so I'm glossing over it.) The vignettes end with Epel complaining about Sebek being loud as per usual. Sally doesn't take issue with his volume though. She simply giggles and informs Epel that Sebek speaks so loudly and clearly so that his words can resonate with others--like how his words gave her courage.

We have learned new lore about Sebek's grandfather and mother. What does this tell us about Sebek? A lot, actually--if you slate it with all the other lore we have on hand.

We see just how strong of a woman his mother is. I suspect this is where Sebek picked up a lot of his hard-headedness, as well as the tendency to express himself very overtly, from. However, it also speaks to the loving environment he grew up in.

His mother seemingly never questioned her own life choices and never gave up fighting to prove her happiness to a father--and likely an entire community--that rejected her marriage, her husband, and maybe even her children. She fiercely loves and defends her family and the life they have made for themselves. Sebek states that he looks up to her for her magical strength, but that he also admires her principles and strong convictions. Indeed, it was her who ardently pursued Mr. Zigvolt and did not allow naysaying to deter her.

Then there is Mr. Zigvolt. In Sebek's Birthday Boy vignettes, he describes his father as "a strange man" who is "magically deficient" and "never lets his smile fade, no matter what I say to him [...] he defies comprehension." Though Sebek doesn't seem to hold the same amount of respect he has for his mother for his father, we don't hear Sebek openly insulting his dad, just expressing confusion about him. When asked about it, Sebek denies depending on his father--but it's clear there is a fondness there that he's not addressing. Mr. Zigvolt is impressed whenever his children use magic, buys them snacks they never asked for, and talks with them for long periods of time in a calm, patient manner. His father, too, has given Sebek so much compassion and understanding.

We don't know a lot about Sebek's siblings, but they seem to get along fine! He has mentioned going to parks with them. They've also gone fishing together and witnessed magic competitions, which they were all amazed by. The Zigvolts in general (or at least the parents) seem to be accepting too, as they volunteer to take Silver in whenever Lilia is unable to take care of him.

And you'd think that's where it ends, but NO. Baur ALSO has a lot of love to give. Despite not approving of his daughter's marriage, he doesn't actively despise his grandchildren. Quite the opposite, in fact! Though he's rough around the edges and looks scary, Baur doesn't fault any of his grandchildren for being born half fae and half human. He actually makes it a point to bond with them, and especially with Sebek. It was Baur who taught Sebek the language of nocturnal fae and instilled in Sebek his love for reading (as he bought many books for him and tells many stories himself). He also personally reached out to Lilia to train Sebek, as the young boy (at around age 7) expressed an interest in martial arts. Sebek has a love for salmon carpaccio because he and his siblings would fish at Baur's house and then prepare the dish for him--Baur was so happy about it. Additionally, Baur values getting a good education and was proud when Sebek shared with him that he was invited to attend Night Raven College.

Sebek grew up in a country that dislikes humans, but he was raised in an household where he was loved unconditionally and provided with all the resources he could need to get a good education and become someone who is physically strong. So of course he becomes frustrated when he sees Sally, who is so nervous to act on her feelings. What would have happened if Sebek’s mother had been like Sally, thinking she and her now-husband are incompatible? If she didn’t try pursuing her feelings at all? Sebek, as the youngest of three, might not event exist. His parents may not still be together… or maybe they wouldn’t have gotten together in the first place. It’s exactly because Sebek knows what love is supposed to be like--courtesy of his own family—that he can see it so well in others, and wants them to act on it. His very existence is proof that love is possible, and it transcends arbitrary labels like race that serve to divide people into categories.

One quirk of Sebek's is how he's always dishing out back-handed compliments or making comments that come off as rude but aren't at their core. He can't seem to help but say a good thing that sounds like something bad. His Diasomnia classmates, usually Silver, have to translate these Sebek-isms for others, who misunderstand him or interpret his words in the worst possible way. For example, from one of Silver’s Fairy Gala lines; “Sebek said to me that no self-respecting disciple of Lilia’s would dare get a single stain on this clothing. That's his way of encouraging me.” In Silver's Dorm Uniform vignettes, Sebek tries to reassure his friend and tell him to not let other people's opinions hurt him--but he phrases it as, "Hmph, ridiculous! I see no reason for you to heed a few random comments from some humans." The duo is also shown to be competitive with one another in training; it's never malicious, they both want to prove themselves as the superior knight, and the other serves as motivation to improve and/or a means of measuring one's own growth against a fellow disciple. When the mostly elderly population of Harveston is in need of physical labor, Sebek comments "[...] the humans in Harveston are woefully out of shape," yet he insists he "still [has] energy to burn" (as if to volunteer himself to do more work) and calls such tasks "simple" (as if to point out how easy it is for him to do, so don't worry about troubling him). He hauls apples and helps the villagers with whatever they need, declaring that they should "be grateful"--but if he truly did not care, he could have stopped at any time or settled for just making fun of them. But Sebek doesn't, because he DOES care deep down. This aspect of Sebek is made even more obvious in Fairy Gala: What If. He appears at Ramshackle and opens by declaring, "NO! I am by no means worried about anyone! [...] Don't mistake my intentions. I am NOT here to help! If your mission doesn't succeed, the repercussions will definitely affect Malleus and Lilia. Hence... I shall lend you uneducated humans my aid! [...] You're welcome to weep with joy at my magnanimity..." Time and time again, we see Sebek demonstrating a lot of kindness, but deflecting or not being totally transparent with his intentions due to pride or embarrassment. This behavior is very reminiscent of Baur, the grandfather that Sebek loves dearly and spent so much time with. Baur, too, can be very passionate and loving, but struggles to speak of those feelings openly. Just look at how the man deals with Mr. Zigvolt. The behaviors of the family, then, imprint on Sebek and influence his behaviors--and being that Sebek is from such a loving group, it follows that Sebek puts out a lot of love into the world too.

A lot of times when the fandom discusses Sebek's attitude, I feel it's from the context of him being hateful towards humans. I'm not going to deny that Sebek has said some pretty nasty things about half of his own identity. The point I would like to make here is that Sebek can love just as strongly.

The most obvious thing that supports the claim that Sebek is capable of strong love is how he views Malleus. It's no great secret that Sebek practically worships the ground his dorm leader walks on. That's essentially Sebek's key defining character trait. What I'll ask you to consider instead is the nature of Sebek's love--not the obsessiveness of it, but rather the unconditional nature of it.

In Lost in the Book with Nightmare Before Christmas, Skully laments that Sebek has not been disappointed by his idol, Malleus. Sebek actually corrects him by saying that love isn't imposing your own views on your idol, it means preparing to accept them, flaws and all. He says the same of Malleus; should the time ever come where Sebek's expectations of Malleus falter or their paths have to diverge, then he will still embrace his young master, never once turning his back on him. And where does Sebek gets this from? His parents. The father who loves his children no matter how critical Sebek may be of him. The mother who remained so strong in the face of her friends and family being against her life choices.

A common fandom sentiment regarding Sebek is that he blindly follows Malleus--and to be fair, he does for a large part of the main story. But when speaking about his idol to Skully, Sebek says that agreeing with someone and continuing to love them are different things. You can disagree with someone's actions and still continue to love them and accept them. This follows what Sebek does in book 7 and likely alludes to the character development he goes through during + following book 7; though he is betrayed and hurt by Malleus turning his powers against the world, Sebek does not let up on the hope that he can bring his young master back. He even sillily calls the yet-to-be-hatched Malleus tamago/egg-sama, showing even an infant form of Malleus great respect after witnessing his OB. Skully took the opposite path that Sebek did; when he realized that his own idol, Jack Skellington, was not as he imagined him to be, Skully became enraged and lashed out over it. Sebek points out Skully's inadequacies as well, which ties back to how he spoke of his own drive to improve in his Nightmare Suit vignettes. Skully confesses to trying desperately to emulate Jack--so much so that he breaks down when Sebek's UM destroys his iconic shades. He wallows in his current state and doesn't make efforts to change or to be better; the past and his own vision is where he's comfortable. It's a strong contrast to Sebek, who has made it clear he will continue to train and work hard to prove his merits and to be someone worthy of protecting the great Malleus Draconia.

It is Sebek's passion and boundless love that makes him a hero both in Lost in the Book with Nightmare Before Christmas AND in the main story's book 7. He serves as a foil to Skully in the former and actively saves Silver when he's on the brink of despair in the latter. After learning that his biological father is the man responsible for killing Malleus's mother and leading the Silver Owls' onslaught on Briar Valley, Silver despairs and comes to the conclusion that his father must loathe him. "He could never love the son of the man he despised! He has to hate me! He has to!" Sebek rushes to Silver's side using Living Bolt, a UM he has yet to master (thus causing residual damage to him when he casts it), to correct him:

"You have this much strength... and you dare to say you weren't loved?! That you were hated?! [...] If [Lilia] hated you, he didn't have to give or teach you anything. He could've just raised you into a dimwitted coward and made you a servant. But he didn't--and look at you now. Even alone and helpless, you stood firm. You spoke up, unfaltering in the face of our liege's madness. Even trapped in the darkest despair, you kept on fighting! Who raised you to be so strong? LILIA DID! Why don't you see? Why do you doubt? You should have understood years ago! What can you call your strength, if not the direct result of Lilia's love?!"

WHETHER SEBEK REALIZES IT OR NOT, A LOT OF WHAT HE TELLS SILVER HITS HOME FOR HIM TOO... Like, thinking about it... Sebek must have faced a lot of prejudice from his community because of who his father is. He might have grown up thinking he, too, was hated, had he not been protected by his loving mother, father, and, yes, even grandfather, who is still struggling to accept the human in their family. Baur must have been feeling very complicated emotions upon meeting his half human grandchildren for the first time... but even though he dislikes humans, he could never find it in himself to dislike his grandkids. If he had hated Sebek, he wouldn't have wanted him to get a good education. Baur wouldn't be happy that he got into NRC. He wouldn't personally ask Lilia to train the grandson who expressed an interest in combat. He wouldn't buy so many books for Sebek or read with him or tell him stories or teach him his language. He wouldn’t spoil Sebek by giving him sweets (which, by the way, Baur himself dislikes). But Baur DOES do all of these things, because deep down he loves Sebek no matter what he is. You can hear it in the hurt of Sebek’s voice when dream!Baur reacts to him coldly. That isn’t the grandfather he is used to. Though it’s said that Baur doesn’t exactly welcome his grandchildren with open arms, he definitely loves them and cares for them in his own way. If it was anything less than love Baur felt for his grandson, if he decided to neglect his grandkids, then Sebek would have grown up as some "dimwitted coward". IT'S ALL CONNECTED.

And now here Sebek stands, able to tell others that they are loved and should be cognizant of that love. He reminds Silver that Lilia loves him. He advises Skully to reevaluate how he sees his idol. He tells Sally to speak honestly about her feelings, because it was his own mother speaking honestly about hers that led to Sebek and his entire family being as happy as they are now. He shouts at people to act and to speak their minds because he doesn't want them to live with regrets, because he doesn't want to see them be weak and timid--a version of himself that could have resulted if he hadn't been loved so strongly.

You can say many things about Sebek: that he's loud, that he's rude, that he's a fanboy, that he has big muscles. But of all those muscles, Sebek has a very big heart too. And what made him so strong? All the love he received from his family, despite growing up an environment that surely invited hatred for humans.