#scene analysis done.......... thanks.

[absolutesort]

FRANKIE & CALLIE — NIGHT TWENTY-SEVEN.

location :   fire pit.

time :   after callie and frankie have had their scrap about kissing other people, the islanders are called together and have to vote for which couple to save.

description :  islanders have to choose between rhys & bash and dejan & max. callie is frustrated that frankie wants to save her friend over choosing a genuine connection.  see also :  flogging a dead horse.

featuring :   callie  /   @graftisms​

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

the public votes never get easier, even if callie has been fortunate to not have to worry about herself yet. but watching rhys and bash up there, a reminder of when it had been dylan and liam and rhys again in jeopardy... swallowing thickly, she looks over at frankie once they've gotten their own little corner of the fire pit to talk. "what are you thinking?" she already knows what she's thinking, but frankie is a little more of a question mark.  

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

this is going to be a difficult conversation, so she prefaces it by taking callie's hand in hers, squeezing her fingers, her eyes darting around the other couples.  "i know you probably want to save rhys. he's your friend, and i get that, but..." frankie pauses, chewing on the inside of her cheek. "if i'm honest, i think we should save dejan and max. those guys came in the day before me, so they've been here like, less than a week. and i don't think they deserve to go home." shrugging, she pulls one knee up onto the bench beside her. "i know you think dejan's a douchebag. i get that. but like, rhys has had so much time to find someone, and if we send him and bash home at least they're going home together. i'd feel bad sending max home, he's not had that same opportunity to make a connection with someone." plus, he's one of her favourite people to have around.

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

one sentence out of frankie's mouth and callie can already feel herself deflate, getting ready for an argument that she's not ready to have. she expected it, but that doesn't make it fun. "dejan is a douchebag," she agrees with first, because at least frankie knows that. "and i know you're friends with max, so i know you want to save him too. i'm not even thinking about rhys as a friend when i say we should vote for them. the whole vote is about what couple deserves to be here, and rhys and bash together have so much potential. they're so new, you know? and the same argument could be said for bash. he's been with nana this whole time, so was clearly playing him. he deserves to have time in here as well. i hate to say it, but if max wanted to find a real connection, he shouldn't have coupled up with dejan. he doesn't deserve to be here, and you know it." and sinking dejan trumps saving max.

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

callie makes some good fucking points. it's annoying how right she is. but frankie's never been good at giving in when she's taken a stance. she'll go down clinging onto a sinking mast before she jumps ship, stubborn to a fault and a devil's advocate at the best of times.  "yeah, but..." frankie falters, feeling herself fighting a losing battle. "if they're in a couple, surely that lessens the blow of them going home? because they came in looking for something, found it, and left. i know max seems like an idiot who wants to stick his dick in everything like some phallic whack-a-mole but like, i spoke to him at the party, and asked about why he's here, like what his intentions are, and i do think he's here for the right reasons. even if dejan's like, the worst possible person he could have coupled up with, it's probably because jenny and naomi had already been picked." and me, she adds mentally — because there's no doubt in frankie's mind that max would have picked her if she hadn't chosen callie first 🤡.   if dejan and max go home, that's all of the bombshells from her week except her, and okay they didn't come in together like rhys and liam and kenny had, but there's still a bond between them, the newness of it all, having to graft in a place where all the couples seemed virtually impenetrable.  "it's been really hard for them, and they've still made an effort with everybody." even if that effort is being a snakey piece of shit.  "i don't feel like rhys or bash have made that much effort with me or the other bombshells at all, and i know it shouldn't be based on that, but i feel like we should go with who brings more to the villa, and i think max and dejan bring a lot more fun and life, you know?" 

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

she knows she had made some good points; callie was hoping her points would be enough to end this. but if there's one thing she likes about frankie, it's what she's stubborn. unfortunately, this isn't helping either of them right now, because unfortunately callie can be stubborn too. "we can't just vote for dejan and max because of max," she says, giving frankie a look. "do you really think dejan deserves to be in the villa? he hasn't even tried making a single connection here. all he's done is terrorize romi, fight half the villa, and play up the apathetic route. he hasn't made an effort with anybody. max i can't speak for—i can probably count on one hand the amount of times i've talked to him." for lack of trying, honestly. he's definitely not her cup of tea. "bash was only a bombshell, like, two days before the guys? that's hardly more time." lips press together, like she's tasted something sour. "just because they're not your friends doesn't mean they don't bring fun and life to the villa. they have more friends than dejan and max do. this place is supposed to be about relationships, is it not?" though she's starting to feel a little stupid for thinking that, as if her and frankie aren't on the same page about the purpose of being here. callie has to look away, anxiously watching the other people deciding in their couples, needing a moment out of this tension to herself.

��𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

she hasn't really seen callie like this. it's a kind of stubbornness that maybe she hasn't exhibited in the villa since that time luke had kissed dylan and lied about it ; the first time frankie — watching it — had felt drawn to her. "he tried with romi, didn't he?" frankie starts, grasping at straws, because it's pretty clear to everyone — even if they weren't at the hideaway— that the only thing dejan had tried to do was ruin romi's current relationship. callie's quick to shut it down, although terrorise isn't exactly the word frankie would use. "okay. terrorise is a bit dramatic," frankie reasons, holding up her hands, in a chill out motion, which is pretty rich coming from her.  "i just feel like everyone will be saving bash and rhys anyway? it would suck to be up there and have no one vote to save you. like that's so fucking savage." but like callie says, it's not about what's savage, or about who's fun it's about the best relationship. if they were strategic about this, they'd go for max and dejan, since neither of them are likely to win unless they couple up with a joan-of-arc pariah of the people type, but frankie isn't sure bringing up strategy is such a good idea right now, when callie's clearly wilding out. "okay, okay... let's just... take a breath," frankie starts, when she notices callie begin to retreat, both in her body language and in the way her eyes seem to flash with something like hurt. it's the kind of expression that curdles frankie's stomach and makes her feel like she did something wrong, when all she wanted to do was save her friend. tenderly, as if approaching a wild beast, frankie inches closer, sliding her hand up the ridges of callie's spine, head tucking into the crook between her shoulder and neck, a space that seems reserved just for her.  "i know this is a tough choice. but i don't want it to change us." frankie starts, fingers rubbing circles on callie's back. "shall we go through the points for each? but calmly."

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

"he didn't try with romi," callie rolls her eyes. "even if you'd call what he did trying, she was clearly uninterested and he didn't care. he's the reason why her and marcus broke up. maybe you don't talk to her, but romi's been miserable with him there, and i don't blame them. i wouldn't vote for him just for that alone. and i'm not giving them a pity vote." maybe it's not fair of her to do this. when the last vote had happened, kenny had been nice enough to split their votes between dylan and rhys, so she didn't have to choose between two people she cared about. frankie has people she cares about, too--but when voting for max comes with voting for someone who has made it abundantly clear he doesn't care about the point of being here, it's hard to justify giving that spot to him over rhys or bash. she won't even get into feeling party guilty for them being at the bottom, when callie had partly been the one to push them together. "i'm fine," she shrugs away frankie's hand, feeling a wave of irritation that's not really meant for her. she's just irritated that this is in their hands, and frankie is acting like there's a real contest between the two. there's nothing like being told to stay calm that makes callie not want to. "do you genuinely think dejan and max are more deserving of trying to meet someone than rhys and bash are?" her eyes flick up to meet frankie's, wanting her to say it right to her face. "because that's what this vote means."

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

there's a weird energy between them that she hasn't felt with callie before. is this what it's going to be like on the outside? it feels like the most real moment they've had as a couple so far, but frankie isn't sure she likes it. it's not like the fun fights she has with naomi, or max, or even jenny — there's none of the adrenaline and thrill that comes when you don't really care about whether your words stick, and all the fear of fucking things up by being too dogmatic and impulsive. she doesn't want to cave to callie's wishes simply to keep the peace—that's never been her temperament—but is fighting for max really worth it when callie shrugs her off like that? it feels like a stab in the gut. she can't recall a time when callie's ever turned down her affection. "okay," frankie responds, dejected, as she shuffles a few inches away, pulls her legs up against her chest to hug them in the absence of callie. the knife in her gut twists.  "we're having our first fight..." she notes, and while it's meant to sound spirited, her voice can't quite summon the humour she'd intended it to have. it just sounds sad. frankie buries her face in her knees. "i want to save max, and as much as everyone thinks dejan's a dick, i think he's misunderstood." and if that makes her an idiot, frankie refuses to see it, because one time he'd told her she had good form in boxing, and he'd humoured her idle flirting. "deep down, i think he can be better. but it's not worth..." she gestures at the space between them. "whatever this is." she wants to get up and walk right out of this situation. she wants to turn back the clock and tell max to pick someone else, someone better, who won't put him in the same situation.  "you've been here longer than me. and i'm pretty sure you carried us through that vote anyway." it's no secret that callie's the favourite. frankie isn't even anyone's favourite inside the villa. "just vote for rhys and bash. they'll probably win it, anyway."

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

callie doesn't realize the extent of the disagreement until she can see frankie's face fall, uncharacteristic anxiousness behind those dark eyes she's grown too accustomed to. she had just wanted a little bit of space, but now the space feels too big, biting her bottom lip as she watches the other girl curl into herself. callie knows she can get passionate about her beliefs, and sometimes that makes it hard to see what's really in front of her. the fact that frankie doesn't see how bash and rhys are the obvious choice is annoying, but she doesn't take it personally. her stomach churns when frankie says they're fighting, an unnecessary observation that only makes her feel worse. "hey, pause." now it's her turn to close the space between them, wrapping her arms around frankie's knees and meeting her halfway, looking her right in the eye. "this vote thing is not going to change anything between you and i, c'mon. i'm sorry if i'm being a hardass about it," she sighs, fingers running through her hair, "i just really, really don't think dejan deserves to be here. i don't even hate him, or dislike him. but he's done nothing here so far except cause drama, and that's not going to change with keeping him. but him being a twat doesn't make a difference between you and i. you can't lose me that easily, you know," she offers her a small smile, a little shy. is she just making a big deal out of nothing? legs stretching out, she sits up and taps on frankie's knees, then hits the top of her legs, an offer to stretch them out on her. "this probably isn't gonna be the first time we disagree on these, though. what if we both get a veto? you and i can use ours now, but then the next time we disagree, the other person gets to choose, no matter what. that's kind of fair."

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

when callie's hands wrap around her knees, frankie doesn't immediately meet her gaze. it stays on her thighs, noting the small hairs that have sprouted since she last shaved, and bringing another wave of sadness, because the last time frankie had shaved it was max who'd held the razor to her skin. she won't be asking him to shave her legs any time soon, unless she gets sent home the next day. maybe it's childish that she doesn't immediately meet callie's eyes, so she forces her gaze up, and as soon as she does there's a buckling in her, because how the fuck can she even think about saying no to callie's big round deer-in-the-headlight eyes?  "okay, good" frankie stresses, leaning into callie's touch, head flush against the hand as it combs through her hair. "because i like us how we are." and if saving that means letting max ( and dejan ) go, then frankie has to put her own relationship first. you can't lose me that easily. "god, you're such a simp," frankie laughs, and for some reason there are tears pricking her eyes, which she quickly smacks away with the back of her hand. okay, that's fucking weird. "gonna start calling you marge simpson if you carry on." which probably makes her homer, although admittedly her marge impression's better.  "homie!" she caws, gravelly and cartoonish. she takes the offer callie's provided her with, extending her legs to drape them over the other's lap, but still the space between them feels too wide, and soon she's draping her arms around callie's neck, too.  "i feel like me voting for max and dejan isn't going to make a difference. dylan and naomi will choose rhys. josh will save rhys, and jenny will let him. there's no way in hell romi and marcus are saving dejan, which only leaves seb and maddox." admittedly, they're wild cards, but even two votes in max and dejan's favour won't be enough to save them. "this sucks ass. and i want max to stay so bad, but— it feels like a wasted vote..." 

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

"i like how we are too." and just like that, the tension between them feels diffused, nearly as quickly as it came. callie's not naive to know that this was a very small issue compared to other things that might go their way, but especially after their conversation this morning about where they both stand, this feels like proof to back up her claim that they're more than just insane chemistry. "shut up," she laughs, and callie would feel more self-conscious about the very true statement if frankie didn't look a little emotional, which she chooses to ignore, for the sake of the other. the simpsons remark goes straight over her head, choosing instead to wrap her arms around frankie's waist and tug her closer, smiling back at her. callie knows a lot of people look at this place strategically, and that much is obvious when frankie rattles off who is probably voting for who. but it's never something she's cared putting too much thought into, and just listening to the hypotheticals of it all has her head reeling. "i'm sorry," she sighs, because she genuinely does feel bad for max. he's never been her cup of tea based on a lousy first impression, but she does think that he deserves a shot still. if only the producers listened to her about bringing in more women. she presses her lips against frankie's temple lightly.  "are you okay with voting rhys and bash, then?"

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

it's been no more then ten-minutes, and frankie's getting emotional whiplash from the amount of highs and lows that have come with making them vote. she feels like her insides have been on a fucking rollercoaster. the only thing grounding her is callie's hands around her waist. there's fear that underpins the anxiety, because it could have been them up there, having their fate decided by a group of people who barely know her. if the public vote's made her realise anything, it's that the time you have here is short, and the connections you form are everything. she wants to press her mouth to callie's and feel her hands against her neck, she wants to sink into her completely, until they're nothing but a pile of miscellaneous bones, but now is neither the time or place to start making out when there's people at risk ( not that it's ever stopped them before ). "i don't want to. but like... you've been her longer than me. and i trust your judgement." she doesn't bring up the fact that callie has a tonne of friends in here, whereas frankie can count the people who like her on one hand. with max gone, the remaining upright fingers will start looking lonely. is she fucking herself over by becoming wholly reliant on a relationship over friends? rhys doesn't seem to like her very much, but it isn't worth fighting about it again. "i think it's probably best if you say it..." frankie responds, eyes fluttering closed as callie presses a kiss against her forehead. "i don't really trust myself to. don't think i could look at max and not save him." even now, when her eyes scan across to the place where he and dejan stand, she feels a huge wave of regret swell up inside her. if she thinks about it too much, she might fucking cry. baby. "shit. this just got... really fucking real." for her, perhaps. but callie's probably had to do this a hundred times. was kenny more agreeable when making decisions? it isn't worth thinking about. "what are you gonna say?" 

𝐜𝐚𝐥𝐥𝐢𝐞 𝐦𝐢𝐜𝐡𝐚𝐞𝐥𝐬.

she feels a little guilty that they're voting for something frankie doesn't agree with... but she doesn't feel bad enough to fight her on it, because at the end of the day, callie doesn't want to vote for dejan. "thank you." it feels like a lame thing to thank her for, but it means a lot to hear that frankie trusts her judgment. she won't forget about the way she relented in the argument so easily, so callie can hopefully return the favor in the next one to come. there's affection in her gaze when she looks back at the blonde, holding back from kissing across her face, wanting to show her just how appreciative she actually feels. it'll come tonight, probably (no pun intended?). "okay," she nods slightly, with another flutter of guilt that she shoves down. "yeah, it always fucking sucks," callie lets out a short laugh, with little actual humor. last time it was her brother in max's position, and callie had felt terrible being grateful that it was one of her closest friends who had to walk instead. more often than not, dumpings have left her in a pretty shitty mood for the rest of the night. she feels bad that frankie's now going to have the same experience. "i'll probably just say that bash and rhys have a connection worth exploring. i can add in how we think max deserves a chance too, and we hate not being able to vote for him." even after all this, callie still can find reasons to blame dejan. max leaving tonight will be because of dejan, make no mistake. "anything else you want me to add?"

𝐟𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐜𝐚𝐬𝐭𝐫𝐨.

absent-mindedly, frankie traces her finger over the dip of callie's cupid's bow while she speaks, only catching every other word. it feels like she's beneath a bell jar, the sound of everything muffled around her. max and dejan are going home. there's literally no other way this can play out, not now that she's given in so quickly, and one look at jenny confirms that she's been equally spineless, or perhaps just eager to please. on the outside, frankie would never give in so fast — but callie isn't on the outside. every part of her wants to get up and walk away from this situation, have a time-out in the bathroom or work off some steam in the gym, but she knows the moment she moves she'll be swarmed by show runners and cameras hungry for a scene. she doesn't want attention, just some peace away from the limelight would be nice. "um... not really? you could always tell max we'll have a threesome with him on the outside? give him some hope as a parting gift. i think his dick shrivelled up from the lack of attention." shooting her eyes up to find callie's, she tries to determine her expression, and adds a cursory "kidding," smirk attempting to prize her cheeks upwards despite the sombreness of the situation. cautiously, her fingers thread themselves through callie's, pulling her hand back to rest on her thigh. "where the fuck's olivia rodrigo when you need her? it's literally brutal out here."

[dragonpropaganda]

you should talk about your thoughts on rw fanon (looking with huge eyes)

Oh god, there's a lot of major misconceptions have concreted into fanon, mostly around ancient society and ascension.

First things first! Ascension is not death! They are entirely separate things treated entirely separately by the text of the game. I can see where the interpretation is coming from, but it doesn't really align with how the text treats either subject. Five Pebbles may want to remove the self destruction taboo, but from his reaction to the rot it's clear that he doesn't want to die. Conflation of ascension and death only comes up as an offhand possibility that pebbs makes on iterator 4chan, when he's going into the possibilities of scenarios that even the other sliverists are doubtful of! (let me make clear that I am not a sliverist by any means)

Ascension is more of talked about as a form of transcendence, yeah? A Bell, Eighteen Amber Beads talks about their sitution as being "To have grasped at the boundless infinites of the cosmic void…", not as them seeking an end to life.

The beta dialogue goes into more detail, mentioning the "infinities of time and space" and the "boundless fractal planes of spirit and reality...", though this dialogue was cut and it's hard to tell how much it reflects the concept as in the released game.

As for the cultural misconceptions... there's A Lot to talk about, but the first that comes to mind is the common conflation of the five natural urges and the christian concept of sin.

It is true that the negation of urges is mentioned by moon as an alternative method of ascension, but much of what we know about the culture of the people who the fandom calls the ancients (which makes discussion of the depths a mess but that's something for another post entirely) points towards the urges not being seen as shameful.

Even the first urge does not seem to be particularly scorned! Being a warrior is presented as a cause for bragging in the Shaded Citadel pearl, being comparable with being an artist and a fashion legend. The second urge, also does not seem to be suppressed. Multiple sources attribute some level of honour to parenthood! The aforementioned pearl also mentions Seventeen Axes, Fifteen Spoked Wheel as being a "Mother, Father and Spouse" without any hint of shamefulness. Nineteen Spades, Endless Reflections expresses pride about having progeny, mentioning it alongside their owned land and esteem among their peers.

After some peer review, an esteemed friend has told me to add a section on purposed organisms as well! This is not so much my area, so I might be a bit off on some things.

As moon says, the majority of purposed organisms were tubes in boxes, and that the primal fauna of the world are almost entirely extinct. A lot of the fandom seems to ignore the first part, and i can't say I blame them, but the evolution of the creatures is so much weirder than people think.

Concept art for the creatures has this interesting quality to it, where the organic parts of the creatures have an almost... melty quality to them.

In the concept art, the flesh appears as if it's almost defying the machinery to form an animal shape. It's as if it's conquering its own artificiality the way the foliage grows over the (stone, brick and concrete, not mostly metal as some think!) ruins.

Of course, it's hard to really tell how much of this reflects the finalised concept, most of the integration is much smoother in the game, in line with a seamless kind of biomechanical design. There was always an intention of biomechanical strangeness, as shown in this screenshot of the devlog before the term "slugcat" even existed!

That said, the melty nature of the concept art shows a level of wild change inherent the biomechanical nature of the creatures, as if they truly are the result of these "tubes in boxes" almost revolting against their own boxes.

and considering centipedes... some tubes may not have had boxes in the first place!

[volivolition]

Is the Wip game finished? Can I still ask for stuff? If I still can, can I get a snippet from the one that give me the most rot (meet the parts)? If no, then I'm just swinging by to say hi how are you doing? <3

HI RED!! thank you for swinging by, im doing better than earlier!! my ear is getting better and im eating pizza :]!

okay so TECHNICALLY it's no longer wednesday, but i LOVE spoiling my fics so of COURSE you can have a snippet from Meet the Parts hkjh <33 you are always free to ask anytime, i will always be happy to share bits of my stories <3 AND SINCE THERE'S NO RULES I CAN SHARE MORE THAN THREE LINES!! here's like, a whole React Speed thing i just wrote :]

LOGIC – Along with Coach and Sparks – Flighty and Fingers too, I suppose – they're why you have trouble sitting still for long periods of time. The attention deficiency disorder... Or are they exacerbated by it? I still haven't figured out which is the cause and which is the effect...

REACTION SPEED – Point is, we got zoomies! Can't sit still. Always more to do, more to see, more to say.

YOU – "Are you why my leg is always-"

REACTION SPEED – Bouncing, yep! Fingers tapping, hands flapping, feet moving, words flying- hey, if you had wings like me, we'd never be touching ground.

YOU – "You have wings?"

KIM KITSURAGI – He jots this down with an interested hum.

REACTION SPEED – Yes! Books, what- which animal–

ENCYCLOPEDIA [Medium: Success] – You have the hovering wing type of trochilidae – hummingbirds, colloquially – with their ability to rotate their wingspan at the shoulder and elbow joints to create maximum lift. However, though you exhibit some iridescent feathers associated with the birds, your wings also connect to membranes, which share the Voronoi tessellation of the species anisoptera, the common dragonfly.

REACTION SPEED - Yeah, exactly! I'm a hummingbird and a dragonfly. Both of 'em. :)

[sisterdivinium]

.

[danieyells]

@yuri-is-online @jadeleechsupportgroup

Taiga, Romeo, and Gluttony

NOTE: This post contains spoilers for the entirety of the recently released Auction chapter. Read at your own risk.

So the recent chapter was everything to me. It was the shortest, but in my opinion it showed us a lot about Taiga and Romeo and their relationship to one another, and it also helped me refine a specific thought I had about Taiga and his whole deal he has going on.

To put it shortly; I think Taiga has a gluttony curse, and I think it functions as a mirror to that of Romeo's stigma, and is part of why they had a falling out, and why they can't seem to get away from each other.

To put it horrifically, horribly long....

So what do I mean when I say Taiga is cursed? Well, exactly that. I believe he's cursed in a similar way Rui or the MC are; he has an insatiable need to eat anomalies. I believe that this grants certain side effects like the MC and Rui's curse, and that one of them is a sixth sense for anomalies and anomalous circumstances.

I want to explain this before the Romeo part, because it's the basis for my analysis and thoughts on the two of them.

To start from the very beginning; I think Taiga, during one of his missions, was cursed by something like a jikininki as punishment for his 'gluttony' — the rapid rate at which he completed missions in his first year. This left him with his insatiable need to eat anomalies, but more specifically, is the reason he doesn't seem to want to eat them.

While I'm not certain the anomaly is for certain a jikininki, especially because there's certainly other similar folk legends out there, I chose that one specifically because they are noted for their sharp teeth and for not liking the insatiable need to eat corpses.

Now, what does this mean for Taiga? I think he's stuck between being a ghoul and being a jikininki, or whatever anomaly it ends up being, and I think this has given him a sixth sense that messes with his perception of time, self, and memory. But why would it do that?

Jikininki are immortal creatures, and wish to be freed from the torment they're in for the most part. If one was cursed to be part Jikininki, it would make sense for their existence to be similarly excruciating, with a difference being a lack of full immortality.

Remember the Mortkranken chapter, with the failed mermaid flesh? How their bodies continued even as their minds didn't? Taiga has multiple lines detailing how his 'body' remembers, even if his mind doesn't. Yuri and Jiro also explain that part of the side effects of the reaction are rapid mental deterioration. If Taiga had gone through a similar deterioration, it would explain his seemingly sporadic memory loss (not total blackouts like Jiro, nor specific category based amnesia either, just like. Random shit) and the fact that he doesn't have a concrete sense of identity (showcased through his constantly shifting first-person pronoun choice in Japanese). His cells of his body are reverting to their pre-aged self, and his mind is attempting to do that too, but it's imperfect and messy.

The key to the idea of the sixth sense comes from the fact that he's specifically cursed for anomalous gluttony. I think that he can sense anomalous material or anomalies themselves, and as demonstrated from Ed, this includes some sort of future sense. While we don't know the full specifics of what a sixth sense grants, we can see him utilise it in multiple different places. It's also, in my opinion, why he was sent on the Prologue mission.

Some examples of his supposed sixth sense are how he intuitively understood the anomalous dealer's entire thing, the scenes where he knows the Like Dove will appear before it does, when he senses Romeo approaching (Romeo is carrying an anomaly: his artifact), how he understands the auction is an anomaly, when he gets the mask under unknown circumstances, when he directly knows there's no anomalies... the list honestly could go on forever.

There's one other fact that I personally believe sealed this theory for me; his association with Haku.

In the recent chapter, when the MC is thinking about who to talk to about curses, Taiga instantly knows who we're thinking of, and rejects it on the basis that '[He] can't get rid of curses unless the anomaly that did the deed's right in front of him.' and that he's a 'Simp for the rules anyway.'

... Which is interesting, since it seems like Taiga has tried to ask him about this before. But if you think of this as Haku's stigma, and imagine Taiga trying to get his curse cleansed before, it makes sense! It would also be a good reason to put Haku and Taiga together in the prologue; Taiga can track the anomaly with his sense, and Haku can cleanse whatever curse it gives so long as Taiga manages to capture it or subdue it for long enough.

(Which, side note, is so tragic for the MC...)

Okay, now that the basis of 'Taiga is cursed' is out of the way, how on earth does this relate to Romeo?

Simple. I think Taiga's curse directly mirror's Romeo's stigma, and it's what caused their rift.

Romeo's stigma, as we learn in the new chapter as well, is dependent on his attachment to the items he throws. This, thematically, works with Romeo, who is known to be greedy. Everything he does is motivated by a profit of some kind, whether that profit is social or monetary or whatever. He wants special privileges so he does special missions. He wants money so he raises fees and coerces people to gamble. He wants popularity so he dresses nicely and pampers himself. It doesn't always mean he is money grubbing and stingy (because we see he's willing to spend lavishly on grooming and decor!) but it means that he's attached to what he has. His stigma requires him to give up that attachment. It is a punishment, a sacrifice, as a result of the pact. Similar to how Luca lost his brother (and gained a protective stigma), Romeo has to lose what he feels is worth something in order to fully utilise his ability. Call it a sort of pride.

I think, on the other hand, Taiga's curse is one of envy. He has a desire to eat anomalies, yes, but the desire becomes stronger the more attached someone else is to the anomaly. He doesn't need any interest in it, really. If someone else likes it he will need to eat it.

Taiga covets Haru's Peekaboo to eat instead of the wild one that we also know is in Jabberwock. He's composed about the Like Dove (barely, but he restrains himself!) until Romeo wants it. He steals the plants from Rui's BAR, not the ones in the garden outside (both are Rui's, but his bar is arguably the more loved thing of his since it was fully his choice). He covets Mortkranken's anomalies, and becomes mildly obsessed with the immortal one as soon as it becomes a major research subject. He's also completely fine holding and handling the mask, presumably for a long time, up until Romeo sees it as valuable and worthy.

Now, this doesn't necessarily make them instantly incompatible. But when you take one of Romeo's core traits being 'Greed towards anomalies' (He wants to collect them and frequently complains that other houses are 'stealing' them from under him; he sells them; he gets missions from Hyde to get them; etc), it becomes evidently clear that Taiga's curse is directly oppositional to it.

I think it's pretty obvious by now that Taiga and Romeo have a pretty turbulent relationship now, but were extremely close in the past. Multiple characters state that it would be nice to see them on good terms again, and it's certainly worth mentioning that Romeo is one of the few people Taiga consistently remembers. They both know each other exceptionally well, too. Taiga knows how to get under Romeo's skin and Romeo knows Taiga's habits.

Going back to the idea of this curse causing their rift, if Romeo was constantly on the verge of an important capture, or even if there was just one mission that was important, and Taiga ruined it by eating the anomaly, I doubt Romeo would easily forgive and forget. I think it could very easily cause a massive rift that just kept growing with each new snack Taiga picked up.

I think a moment that gets its nuance overlooked a lot is the scene just before Taiga eats the dove. The Japanese line emphasises that Taiga is referring to HIS heart, that Romeo could shoot through HIS heart, not just a general appraisal of sharpshooting. He even points directly to his heart as he says this, and it makes Romeo hesitate. They're BOTH in pain in this scene. They're both conflicted; this is their ex-partner (which I don't mean in the romantic sense, just in the general sense) who they were very, very close with, and who is now literally at arms length with a loaded gun. Romeo could just shoot him. Romeo could put an end to all of this supposed pain. And Taiga might even let him. And wouldn't that be karma for all he's done? But he can't. He hesitates.

And you know what appears after that? The dove.

This dove that symbolises both general desire (flies over peoples' heads when they're thought about) and Romeo's desire. His desire to escape probation. His desire to make money. His desire to capture, not kill. His desire to reconcile instead of fight. His desire to shoot.

And Taiga kills it. Eats it.

I think this is the most tragic scene between the two of them. This is the crux of it; they both want to reconcile. They want to be friends, to be close, to stop the war raging between the two of them that has done nothing but hurt them both AND hurt the wellbeing of Sinostra, but they can't, because Romeo will ALWAYS desire, and Taiga will ALWAYS take that from him.

It's a cycle they can't escape. The auction chapter shows it too. Taiga is almost disappointed at Romeo's greed. He seems jaded by it, and seems proud and happy when Romeo gives it up for once. Romeo is happy too; MC goes out of her way to say that Taiga handing him the mask makes him look more peaceful than he ever has before. It is quite literally a perfect ending for the two of them and a perfect way to reconcile.

And then Taiga eats it! Again! But I think the most horrifying part of it is that he tries to warn Romeo.

The comic doesn't translate or even transcribe it, so it's so, so easy to miss, especially if you don't speak Japanese, but Taiga grunts out the words 'I', 'Eat', and 'Next' as he approaches Romeo and the mask, and it's the direct reason why Romeo is able to realise that Taiga is about to eat it before it actually happens. He basically just grunts out 'I'm gonna eat that next' as he's fighting against it! But inevitably, neither of them can stop it. The cycle continues.

As long as Romeo is greedy, and as long as Taiga is gluttonous, they will never be able to fully reconcile, no matter how much they both want it. Both of them have to change, but I want to point out that at this moment Romeo is the bigger active obstacle between the two of them. Romeo can't let things go, he holds onto everything and lets it build until it explodes in one way or another. Tiris, his stigma, is symbolic in that sense, that he has to learn to let things go, because if he lets it build too much it will explode spectacularly.

(All of the ghouls have this sort of symbolism with their stigma, so it's not just a Romeo thing, but it's definitely important to his character.)

But Romeo can't get over it yet. He can't get over his greed, he can't let go of things he can't achieve (like getting Kaito's necklace), he can't get over past betrayals (Taiga, what happened with his family, etc)... He's too stuck and stubborn, and his refusal to budge has therefore lead to Taiga's refusal to push. Taiga has stopped caring about getting on good terms because he knows it won't turn out well. He's given up and become cynical, which in turn means that IF Romeo were to change, Taiga... still probably wouldn't. They're cyclical again. Always, always missing each other. So close and yet so far.

I hope the MC can be the catalyst for this cycle to end. Or Ritsu, who is a good equalizer to the two of them. But until she learns to see her own worth in the Academy, and until Ritsu accepts that sometimes he's wrong / he doesn't always know the most out of everyone in the room, I'm afraid Romeo and Taiga will remain stuck in this loop forever...

[kisses4reid]

not our scene | ·˚ ༘ spencer reid ,, - part 1

summary - an undercover mission creates distance between you and spencer, but his hands on your waist closes it.

genre - fem!shyish!reader x spencer, forced proximity, fake relationship, awkward idiots, fluff

warnings - awkwardness, general cm violence and gore, spencer and reader are both awkwardly in love with each other and don’t know it yet, mentions of trafficking

w/c - 3.5k

a/n - was writing this in one part and realised i just couldn’t. *jennifer coolidge aoughhe* sorry that its a bit inconsistent with writing style, and its not my best. trying to get back into writing fics longer than 1k.

part two

A familiar scene, an unfamiliar circumstance. The breath mint you swirled around your mouth had now disintegrated in your surprised stillness, your boss Aaron Hotchner passed you a thick case file with an attentive glance. Spencer cleared his throat, “At parties?” 

“Yes,” your boss’ hard voice returned, “The girls are swapped at banquets and ballroom dances, disguised as simple partner swapping.” Aaron turned towards the large panel screen and motioned towards an ID photo of a balding man. “This is Quinn Webley, he controls all transactions and coordinates the parties and most importantly, security.” 

“That’s why Reid and Y/L/n will be undercover. No offence but you two aren’t very noticeable,” Rossi added onto Hotch’s explanation, earning a small snort from Morgan.

There was no doubt more reasons to be chosen than that. Morgan was too impulsive, Emily could get hot-headed, JJ wasn’t trained for it, and Rossi and Hotch simply had to make sure everything went well from the outside. You and Spencer were the best options for this type of case, not only because of your skill, because of the obvious chemistry that you and Spencer shared. “Now, you’re not to make contact with Webley, all you have to do is watch him and everyone else. Pay close attention to couples, older men in small groups, and to the dances that might take place.” Hotch was not giving you or Spencer a chance to object, or to deject the idea. This was set, no negotiation. Not that you would want to be replaced in this case, it was just the fact that you were: 1. A terrible dancer, and 2. Not the most extroverted person. You nodded along, opening the case to create a personal profile of the women who were trafficked, before the discussion had come to a close, and everyone left the room to start collecting their things. 

Spencer cleared his throat, bringing you out of your analysis to meet his warm eyes. Suddenly, the easy-going banter you and Spencer shared had evaporated, replaced by suffocating silence. He didn’t meet your gaze back, only muttering in the silence, “Can I assume you want me to take the lead on this one?” 

“Oh, yes please.” You smile smally, trying to melt the ice that had somehow solidified between you two. Spencer was awkward, introverted, preferred alone time, but you were shy, quiet, and verbally uncoordinated (and physically). 

He nodded and exited the room, sighing off nerves that had piled themselves onto his shoulders since finding out he’d have to go undercover with the one girl he didn’t want to ruin his relationship with. He didn’t think the case would ruin your friendship, but it could make it harder for him to keep it that way.

Spencer stood straight with Derek peering over his shoulder and into the mirror. Derek picked at some dust on Spencer’s suit jacket as the nervous boy attempted to loop his tie neatly. 

Derek chuckles under his breath and turns the boy by his shoulders to face him, lifting his strong hands to help Spencer with the dark crimson red tie. Spencer silently thanked him with a nod.

“What are you so nervous about, Spencer?” He asked, half joking half serious, “It’s just an undercover mission. You’ve done this plenty of times.” 

“Not like this,” Spencer quickly replied, “Not with…” Her. You. 

Derek opened his mouth slightly and nodded, finally understanding the true reason for Spencer’s bouncing leg and sweaty hands. 

“Don’t freak out too much okay? You need to act like you love her, which won’t be too hard- But you need to do it without looking like you’re afraid of her.” Derek finished tying Reid’s tie and patted him on the chest as a hype up, smiling at him brotherly like. He knew Spencer’s feelings for you, that he liked you. A lot. 

He didn’t know Spencer wouldn’t have to act like he loves you. Spencer bit the inside of his lip nervously and turned to the mirror again, taking his eyes over his slightly unfamiliar reflection. 

The suit is tailored perfectly to his body, making him look trim, lean, and tall. Derek handed him a black bottle of cologne and headed for the door, before a sudden question stopped him.

“Do you… do you think she’s too good for me?” Spencer looked at Derek with big eyes, blinking rapidly. The man stood in slight shock before laughing away the silence, shaking his head in disbelief. He knew Spencer wasn’t accusing him of anything, it was a genuine question. Spencer thought he was lesser, less than what you deserved - even if it was just for a night. 

“Pretty boy, I think she’s happier to be doing this than you know. I think she likes you- I know she likes you-“

“That doesn’t mean-“

“Uh uh uh. No. Trust me, Reid,” Derek opened the hotel door and gestured for Spencer to follow him, “If you don’t trust me, ask her yourself.”

The girls whistled loudly at you like a bunch of old men when you emerged from the bathroom. You spun on your heel (which was way too tall for your liking) to entertain the ladies, JJ clapping her hands together and Garcia smiling so hard you felt your own cheeks burn. 

“Why do fake couples always have to be straight, huh?” Emily joked, and you giggled back at her. You crossed your arms over your chest as you turned to face a standing mirror in the corner of the fancy hotel. 

Your body was wrapped in a silky red, floor length dress, with wide and long sleeves draping over your covered arms like a cloud surrounds a mountain. It cinched at your waist, and stopped at just the right length to expose your 4 inch, black heels. You couldn’t deny that you looked incredible, although your nerves were playing with your head. 

“You look stunning,” Garcia repeated what she said when she was doing your makeup - simple and accentuating - when she noticed your slight anxiety.

Dressing up like this and wearing makeup and styling hair? Not your thing. It’s not that you didn’t like it - you loved being girly. It was just your own insecurities and personal preferences that caused you to wear sweaters and sneakers (anything that wouldn’t bring attention to yourself). 

The girls knew this, and dressed you simply and modestly so as to not add to your nerves that an undercover mission usually invites, and you appreciated it greatly. Although the heels were really high.

You were especially nervous to present yourself like this in front of him.

That’s why you fiddled your hands together, why you looked yourself over in the mirror three times before leaving, why you let the girls completely take over your look. 

You walked out into the hallway, pushing some hair behind your shoulder and letting the other side drape, still getting used to walking in those heels, when you were met with more whistles and compliments. Aaron nodded at you, knowing how abrasive you were to the idea at first, and Rossi and Morgan both asked you to give them a spin - and you did. 

The encouragement lifted your spirits slightly, a smile exploding from your face as a soft blush covered it. This is probably the best you’ve looked in front of them. 

“Where’s her date?” JJ asked, she mentioned that Morgan had the job of matching Spencer’s tie but she didn’t trust him.

“Don’t worry, he’s got on the best dark red tie that we could find. He’s downstairs in the foyer.” 

You scrunched your eyebrows together before Hotch added, “You have to leave together just in case. Precautions, okay?” 

Spencer swapped the position of his hands at least five times in a minute, glancing at the elevator in the all too fancy hotel every time someone emerged from it. He adjusted his tie, and sniffed his wrists to make sure he smelt good for you. He always made sure of it, after you offhandedly mentioned to Emily how smells could either make or break your day. 

You had a lot in common with Spencer, other than the obvious career choice. You were both… weird. Talkative around each other, silent around others. Shy, but confident in your abilities. You both had your things - your’s is smell, his is germs.

And luckily, whenever you went to Spencer’s apartment to drop off or pick up a book, his place always smelt like cleaning products and cologne.

Though now, he smelt like cedar wood and smoke. You tapped him on the back, nerves rushing through you like a teenager on her first date. He jumps slightly, not hearing the last elevator ding in his own worries, and turns on his heels - nearly bumping into you. 

“Woah.” He let that simple word slip before he could even bite his tongue, and a red wash painted his cheeks and ears.

You looked stunning, and Spencer was simply awestruck. 

You pushed a straightened piece of hair behind your ears and smiled shyly down at your feet, not letting yourself look at him for too long in fear that you’d melt into a puddle. Spencer cleared his throat to contain himself, and held out his arm for you to thread your own through. 

“Are you okay? Your hands are shaking.” You ask timidly - very unlike how you normally were around him. You avoided taking his arm, scared he’d feel uncomfortable with the contact before he straightened his back and reluctantly pulled your elbow through his. 

“Just nervous, you look-“ He coughed, “Nice.” 

A smile slipped from you as you thanked him quietly, the two of you heading out the large foyer doors and towards a black limousine.

The ride was mostly silent other than the quiet music playing from the radio. And despite the large amount of room in the back, the two of you stayed conjoined at the hips. Maybe it’s the fact that you’re both nervous, maybe it’s the job.

Maybe it’s because you’re both going into a place you’d never purposefully enter. 

“You smell good.” You broke the silence, your knee tapping his. He brought his attention from the window to your face, now noticing the small amount of makeup that accentuated your already beautiful features.

“Thanks. You too.” 

Suddenly, Morgan’s playful voice cut through the weirdly comfortable silence, through to both of your earpieces. “Alright you two. Now, you both know you’ll have to be all lovey-dovey, no acting needed, but don’t over do it. We’re not trying to make contact with Webley, just to get close enough to watch him. If you lose sight of him, hit the dance floor, he and his wife enjoy moving around.” Spencer’s eyes don’t leave your face as you stare at the black floor in concentration. His hands start getting a bit sweaty and he has to clear his throat to coax himself into listening to Morgan. 

“And if he heads for the kitchen, let us know, we’ve got an officer that’s acting as a bodyguard at the back door that can tell us when he’s left.”

Spencer thanks him over the ear piece, holding down a small microphone under his cufflinks. Your hands fiddled with each other, threatening to chip off the nail polish Emily so carefully painted. Spencer felt his heart pump in his chest, but ignored it and took a small mint tin from the inside of his jacket, holding a small white pellet out to you. “Y/n,” he caught your attention and smiled at you sweetly, easing your nerves almost immediately. You took the mint from his palm, your fingertips tracing the lines on his palm softly before you popped it into your mouth. You didn’t have to ask how he knew you needed that, you had grown comfortable with knowing Spencer knew more about you than anyone else in the team. 

The venue was a mansion mixed with a theatre. There were expansive columns lining the outside, countless balconies looking out onto the cityscape, and gardens paired with ponds that were home to some unexpectedly calm swans. You and Spencer both stood there for a few seconds, taking in the architecture, as well as the amount of people entering and exiting the main doors. For a second, you felt giddy and childish. You weaved your arm under his and he let his other hand land over yours to squeeze it gently - he must feel just out of place but weirdly excited as you are. 

Don’t lose sight of the real priority here, Y/n. 

But it’s hard to do that when you’re entering the conjuring of your childhood dreams. 

When you start walking up the large stairs, your heels click and Spencer tightens his arm slightly, your stepping becoming a little uneven. These damn heels. 

“You okay?” He asked, one eyebrow raised slightly. His hair was combed back, his long locks more tamed than usual, but one curly strand just escaped and covered the left side of his forehead. It looked effortless, handsome.

“Um- Yeah, sorry. I’m not used to shoes like this.” You laughed like it's funny and Spencer continued to basically lift you up the stairs with no complaining.

When you stepped foot into the main foyer of the building, there were multiple chandeliers that swayed safely in the bustling movement of the quartz floor. There were multiple vases of red and white flowers, almost matching your dress, and multiple suited guards at every entrance and staircase. They smile at guests, and offer them menus and directions, and smartly conceal their weapons in case of intruders. Intruders being you and Spencer.

When Spencer leads you up to them, his hands finally still and confident, the guards smile at you both - offering you an extra look over that has Spencer angling himself to cover you. 

“Names?” One of them asked, pulling out a checklist from behind his back (you almost thought they were pulling out their small guns - you really were not confident in how to act… well… confident.) 

“Mr and Mrs Conner.” 

“First names?” 

First names? You weren’t given first names. Garcia had made sure that nobody else on the guestlist was by the last name of Conner. You could practically see the cogs churning in Spencer’s head - creativity wasn’t really his strong point. 

“Did you just ask for our first names?” You scoff, your voice becoming a bit whinier than usual, “You obviously live under a rock, there are no other Coopers.” 

The guard widened his eyes, scanning the list again and stuttering, “I’m sorry ma’am. You’re obviously- Have a good night.” The guard lifted an arm as an invitation inside, and you gave him a glare. Spencer smiled once you were both out of sight and squeezed your hand with his own. But there are no words, as you’re too taken aback by the sheer size and beauty of the room, if you could even call it that, to focus on the contact. Even larger chandeliers, expansive marble floors and painted ceilings with naked bodies. The warm lighting nearly convinced you that this was just some rich party that people get drunk at and talk about nonsense, but Hotch suddenly talking in your earpieces brought you out of the spell that the pure aesthetics had lured you with. “In the back left of the dance floor, you’ll see Webley dancing with his wife, talking to a pair of aristocrats. Try to get closer, don’t be obvious.”

You released a breath and Spencer adjusted his arms to intertwine his fingers with yours, causing you to meet his gaze in surprise. “We’re in love, remember?” His eyes creased with a smile, his thumb caressing the back of your hand in comforting patterns you couldn’t decipher. Oh, you couldn’t forget that. “Right,” you respond, straightening your back and walking with him towards the dance floor. 

His hands carefully rested on your waist, his fingers gripping slightly against the silky fabric of your dress. The contact made your skin burn, a permanent pink painting your cheeks and increasing whenever you made eye contact with the tall and undeniably good looking man you were dancing with. Spencer didn’t look anywhere other than you and the back left of the dance floor. You had almost grown bored of the nerves in your heart before you noticed something you didn’t see before. 

“Hey, your tie matches my dress.” You said softly, barely audible over the music that echoed around the hall. Spencer glanced down at his tie (thankfully still properly tied) and then at your dress. That was a mistake, because now his breathing is deeper and he can’t take his eyes off of you. 

Spencer nodded and sent you a small smile, “Morgan made sure of it.” 

“Didn’t that spoil it for you?” You asked, finally meeting his gaze. It looked deep, it looked… heavy. 

His swirling brown eyes shot electricity at you when he replied, “Why would it be spoiled?” 

You lowered your head away as you smiled sheepishly, “This is probably the nicest I’ve ever been in front of you. Probably wasn’t as special as I wanted it to be.” 

“You wanted it to be special?” You felt his fingers twitch on your waist as your own fingers twiddled with each other behind his neck. You lifted your face and found him clearing his throat, “I mean, it was still special. Although, I disagree with it being the nicest you’ve ever look.” 

You laughed, and it caused Spencer to crack a smile. 

“I show up to work bare-faced, in second-hand pants and sweaters two times my size. I feel like this is pretty good.” 

“You always look good.” 

You almost stopped your soft swaying with him in shock, and Spencer’s cheek reddened as if he was also shocked he said it. Spencer cleared his throat again, and bit the inside of his lip. 

The others couldn’t hear them right now. The music was soft, people chattered and to be honest, the whole mission had been erased from his mind. Spencer took a long, deep breath.

“I think you look beautiful right now, of course. But you’re still beautiful when you’re dressed like how you like to. I know what it feels like to not want to bring attention to yourself, and how sometimes your clothes can hide you. But…” Spencer stopped your movements with his hands lowering to your hips, he had been instinctively pulling you closer throughout the dance. “There’s nothing you could do, or wear, that could possibly take my attention off of you.” 

You felt your world stand still, although the blur of people didn’t seize, and fluttered your eyelashes at him unsure of how to respond. It was the most he’s spoken to you in one time - excluding random facts and the babbling you accept everyday.

“Spencer…” 

The tall man raised his hands to your waist again, the motion leaving waves of nerves to tumble over you, before he cleared his throat and started darting his eyes from yours to someone’s in the background. 

“Y/n. I think I saw Webley.” His grip only slightly tightened on your silk dress, his fingers curling slightly to move you across the dance floor slowly. You were definitely the more uncoordinated of you two. 

He moved skilfully across the dance floor, avoiding bodies and feet like it was rehearsed. 

“Not too close.” You muttered, Spencer’s attention flickering to you for only a second to nod in agreement. You need to watch him, not make contact with him. 

You grimace slightly, your ankle wobbling at an awkward angle for a second before you recover and-

“Are you sure you’re okay?” 

You meet his eyes again, his own already burning a hole through you and your heels. 

“I’m fine, again it’s just the heels.” 

“They seem to be causing you a lot of harm,” Spencer furrowed his eyebrows and cleared his throat. Maybe he can distract you. “Did you know that heeled shoes were originally designed for Medieval Soldiers? They were made to make rising horses easier, putting a heel in the stirrups instead of your armoured shoe. And in the 16th century they weren’t supposed to be… to be seen…” He rambled and stopped abruptly.

He didn’t stop because you told him to, or you looked annoyed, or you lost interest. He stopped because you looked… too good to say anything. It made him nervous like a school boy seeing his crush in her prom dress - although he never got to experience that. It felt pretty close.

You tilted your head, a piece of straightened, silky hair falling over your shoulder. Spencer gulped, and before he could stop himself, he lifted a hand and twirled the piece in his pointer finger. 

It was like an optical illusion, something you know can’t be real, but intrigued you anyways. That’s what you felt, because whatever was happening right now could not be real. 

Spencer Reid looked entranced, hypnotised without knowing. And you looked red. 

“Th-they weren’t supposed to be seen?” 

Spencer snapped out of his trance but didn’t continue, only pulling you forward by the waist and moving that strand behind your ear. Your heart pumped, your ears matching the colour of your dress. 

He didn’t try to kiss you, even if he wanted to so badly. Instead, he lowered his lips to the shell of your ear and whispered, “Let’s go. Webley opened the kitchen door.” 

And your heart dropped.

taglist (open!!) - @jeffswh0re @reap3erslov3 @candyd1es @0108s22m @aurorsworld @theoraekenslover @c-losur3 @littlelearningbrat @khxna

[kujoestars]

The Mechanism of Kafka's Transformation and How It Affects Him

(Crossposting my analysis/theory from Reddit. Also, warning: this post contains both anime and manga spoilers so beware if you are anime-only)

So, something that drove me nuts about the manga's version of the X-ray scene was the fact that there was literally no difference from a normal human chest x-ray. The anime THANK GOODNESS fixed that:

We finally know exactly how Kafka's core looks while he's in human form. It appears to be primarily occupying where the chambers would be with a good amount of myocardium (the heart muscles) suspending it while also continuing to function as a heart.

Notably for me, there's actually a translucent hemicircle up top there where it's supposed to connect to the aorta. In fact, you can see the core is translucent on its left (our right) side while more opaque to its right (our left).

Let me highlight it for reference I hope y'all appreciate the fact I had to do it with a mouse on MSPaint because Reddit won't save images to drafts and I can't drop images from tablet like on desktop:

It appears that Kafka's heart was fully converted and the tissue there is just a facsimile since it appears to be forming a pouch for the core to nestle in.

The anime's expansion of the scene the Mysterious Larva/Young Yoju fused with Kafka ended up perfectly tying in to this. Something I noticed was that Kafka was not actually transforming for most of it. Initially he was clutching at his throat where it entered:

Then just before the transformation started (when his eyes started glowing), he was clawing desperately at his chest:

For reference to anyone who's never studied anatomy, the mid-esophagus is actually resting against the heart, which is why the best form of imaging for the heart is a transesophageal echocardiogram (i.e. stick an ultrasound down the esophagus), which works like in this diagram:

In other words, the Larva's target was his heart and it was burrowing into it from that point. Which is consistent with where Kafka was clawing at in the shot I posted before and why after the change completed, his hand was resting just above that area:

Basically, the theory I have been saving specifically for after this episode is: Everything about Kafka's body is tied to the core.

Yes, that was obvious since we saw him regenerate his entire body from just the core, but what I'm saying here is that that the heart was the only thing the Larva was trying to fuse with. The rest of the body followed instantaneously once the heart became a core. Kaiju cores appear to be storing a lot of energy, so it would fit in with why even the initial change could happen so rapidly. It was a large burst of energy that had Kafka's cells all convert and restructure, and we even see steam coming both off and out of him here in the anime.

All future changes seem to be purely a matter of him controlling every cell in his body like individual muscles or even like how cuttlefish and octopi are able to change their appearance in an instant from muscle contractions and chromatophores.

In other words, the evidence has stacked to full OVERKILL that Kafka is truly a kaiju that can shapeshift into a human rather than the reverse like he and everyone else prefers to think.

Which leads me to my big pet theory right now: the reason Kafka is losing his ability to revert to human form is because he's becoming malnourished. I won't stack the image evidence since I've already done enough and the focus is on the core and Kafka's real biological nature now (I'll save that for a future post, lol), but it only stands to reason that if Kafka is physiologically a kaiju regardless of form, that means he has the metabolic needs of a kaiju.

He was only fine before because he had a lot of extra body fat as reserves and didn't use his kaiju form much. But after entering the Defense Force, he's been in multiple situations where he had to push himself while transformed and consume much more energy. If you pay attention to his body type, you'll notice he's been having quite a bit of weight loss.

Sure, he's been training a lot too and eating better, but following the fight with Isao, he's becoming abnormally thin. Maybe not enough for people to immediately think he needs a sandwich, but as of the latest chapters, I've noticed he's actually pretty lanky now even in kaiju form when previously Kaiju No. 8 was built like a bear.

You could argue it's just art evolution EXCEPT literally no one else had such a drastic change in body type or AT ALL. I'm pretty convinced this is an intentional transition from Matsumoto.

Whatever Kafka is eating as a human, it's not enough to sustain him long term and so his body is going into power save mode. And since his default is kaiju (why else would he constantly slip up his first few months if it wasn't actually his default form?), his body is losing its ability to shapeshift because it doesn't have the energy to. Malnourishment tends to manifest in a similarly piecemeal fashion irl, so I'm not surprised its first sign is just one spot on his hand.

Such a deceptively simple reason for the kaijufication is precisely why I'm very certain that is the cause. Kafka has a lot of issues with loving and taking care of himself. And this series is all about subverting tropes in favor of common sense. It's not some "inner demon" trying to take over (the Larva actually only did that once because Kafka was both in danger and refusing to fight back what it perceived as another daikaiju); Kafka just isn't taking care of himself as usual!

And there you have it, folks. Finally, a clear breakdown of what exactly the Larva did, how the transformations work, and why the kaijufication may not be as scary as everyone thinks. Or rather....not in the way they think. Someone please feed that kaiju properly!

[piratecaptainscaptainpirates]

The worst thing about all the Izzy discourse, I think, is that the writers clearly never put that much thought into him even a little bit.

And when you start approaching everything Izzy does in the story through the lens of "this is guy is not, in the grand scheme of things, an Important Character," it just makes everything about him so much more coherent.

OFMD is not a simple show and there are layers to pretty much everything that happens, but Izzy's s1 behavior very neatly and easily boils down to "this guy is here to preach toxic masculinity at us." In s2 the writers very reasonably assumed that the audience would not like Izzy, so they chose not to call back to the awful shit Izzy did in s1 because they assumed the audience already knows and we're not on his side about that stuff. Trying to make Izzy sympathetic by having him start off the season already having made the realization that he has Fucked Up allows all of his scenes to be in service of showing that anyone can unlearn toxic masculinity and grow. Izzy is important to Ed's character as the voice driving him to keep adopting the Blackbeard persona, and when he apologizes to Ed on his deathbed for abusing him for years, we're not supposed to find that a surprise. Izzy's character in s2, when stripped of the toxic masculinity that once defined him, does kinda distill him down to this bland abrasiveness, but that's honestly okay because he never really had that many distinct character traits to begin with.

Izzy doesn't have a concrete backstory because he doesn't need one. His relationship with Ed is complex, I'm not saying it's not, but that's very clearly meant to tell us more about Ed and his relationship to masculinity and father figures in his life than it ever was about Izzy himself. His relationship with Stede is defined by Izzy going "this is the way things are done" and Stede replying with "uh no thanks lol" to show that Stede's kind of masculinity is the one we should be rooting for.

And when we start doing Izzy-centric analysis of the show, I think its messages and themes become much less coherent, because he's just Not That Important. You're always having to twist things around to kiiiiiinda make them fit. And don't get me wrong, it can be very fun to read against a text as a thought experiment or writing excerise, but we do run into problems here when there is such persistent insistence that that's the way the story is meant to be read.

[janearts]

Hey, so you got to act 3 in the Astarion romance, right? How did Roisa feel about the romance scene in the graveyard?

I did! I finished the game back in September and played out the epilogue patch more recently. Roisia was happy to bear witness to Astarion mourning his past and celebrating a future of his choosing. However, she did take umbrage at Astarion's phrasing that he would be open to having sex that evening. Knowing his history and his relationship with sex, Roisia was really looking for more clear intent, more barefaced desire. I think his wording, "I could be persuaded", would've really bothered her even though she knew he meant it cheekily (e.g., a stupid easy persuasion check, if you will).

I've included a more thorough analysis of her feelings under the cut.

Ultimately, that night poked and prodded at deeper fears and insecurities. Roisia has been left before at the end of a grand adventure wondering how she could have missed the signs that the person she adored did not quite adore her back with the same ardour. Now, older and believing herself to be wiser, she is wary and this time, she tells herself, she will keep herself in check. She will be rational, level-headed, and even-keeled. She will not let herself get swept away by irrational desire, and her love of Astarion is a very irrational, incompatible, unwise desire.

When Astarion said that he wanted her, that she stood by him through bloodlust and pain and misery, that she had been patient, caring, and trusting, that he felt safe and seen with her, and that he didn't want to lose all of that, Roisia felt a sinking unease. A queasy sort of disquiet in her gut. Because she realised that everything he described, everything about her that he praised or acknowledged or thanked, was nothing particularly special in her eyes. As a [former] Cleric of Kelemvor, as an undertaker, as a professional mourner, she has done all of the above and more with the loved ones of decedents as part of her job. It's her sacred duty to stand by people at a low and loathsome point in their lives, through their pain and misery, with patience, compassion, and an extended hand. Hell, that's just another Tuesday!

Roisia couldn't help but feel that Astarion really only loved the things that she could do for him rather than her as a person outside of those acts of service. And those things he described could have easily been done by any Mortarch worth their salt in her place. So does he truly care for her? Or is he really just thankful for the things she's done for him? Those things that really anyone could do? It does not plant a seed, exactly, but it germinates a seed that was already present in her mind, a nasty little thought that she is not special and, therefore, not truly loved in the way that she so very much wants to be loved. That, sure, Astarion cares about her, but only because she just happened to be there and has assisted people in different stages of grief since she was a child. She is fundamentally, inescapably replaceable and it's only a matter of time until Astarion realises that and does what Eustace did: clap her on the back, thank her for her time, and move on to greener pastures whatever or wherever they may be.

It was hard for Roisia to hear Astarion say things like "I want you" and "I love you" when there is a part of herself that deeply, deeply doubts that. That thinks he is wrong even if he is not yet aware that he is wrong. She is torn between taking his words at face value, the words that her heart wants to hear, or reading between the lines, which is what the parts of herself that she calls Logic and Reason call out for her to do. I think in the moment she yields to the former, but after that night, leans towards the latter.

[itsclydebitches]

Zevlor: An Angsty Character Analysis

Hey, Zevlor simps. Can I interest anyone in 4,000 words about our favorite disaster tiefling? 💀

“We can’t stay, but we’ll be slaughtered if we leave—we’re no fighters.”

Back during my first play-through this is the line that turned Zevlor from another dime-a-dozen, exposition spouting NPC to a character I was legitimately interested in. “We’re no fighters.” My DnD ignorance abounds, but even I could see that wasn’t an accurate statement. Here’s a mountain of a man sporting fancier armor than my level 2 Tav knows exists yet, having wrecked half the goblin hoard with his crossbow and, if you let him, he'll happily turn to punching as a solution to verbal disagreements. Plus, he’s clearly the one giving the orders, so what do you mean you’re not a fighter?

Having explored the Grove a bit I chalked it up to a generalized assessment of the refugees as a whole. They’re mostly kids, civilians, and would-be protectors who only look the part of fighters in cobbled-together armor. One woman is grappling with the guilt of killing someone for the first time, even an enemy. Lakrissa is sure they’re all going to get slaughtered and is willing to put money on that fact. Meanwhile, the couple you meet are more concerned with what pet they’ll get when they somehow, someway, make it to the city. Don't worry about how that'll happen. You learn later that even those like Ronan are small potatoes compared to most of the baddies you’ll face. On paper he looks and sounds like the real deal—dressed in robes, talking up an apprenticeship with the famous Lorroakan—but scenes like the celebration light show and his own fury at needing to be saved, again, highlight how far he still has to go. The point is that Zevlor is right: these aren’t fighters and he at 18 strength, paladin, former commander, is definitely the exception.

However, BG3 is the sort of detail-heavy game where I’d expect them to include that exception in the dialogue. “We can’t stay, but we’ll be slaughtered if we leave—these people aren’t fighters.” Zevlor’s inclusion of himself in this assessment continued to nag at me and it didn’t start to make sense until I delved into his tag here on tumblr, with more patient players than myself posting everything there is to know about the tiefling. (Thanks, all.) Zevlor is fascinating to me in part because he has this contradictory nature, one example of which is that he’s a very talented fighter who desperately doesn’t want to be a fighter anymore.

…but also he totally does.

We overhear in his dialogue to Tilses that Zevlor is adamant about shedding the titles he’s earned through combat: Hellrider, Commander, Sir. He insists that they’re just civilians now and it’s not like he’s being disingenuous here—note that he introduces himself as just “Zevlor” to Tav. Zevlor means what he says to Tilses and we can see that he’s trying to both reinforce his point and lesson the blow by referring to her as “Tilly.” The nickname is a sweet one, hinting at their close bond in just a single word, reminding her that he’s not saying this to hurt her, he cares for her… but the nickname is simultaneously something he never would have used as her commander. The intimacy meant to comfort is also a hard blow to weather. They're now people who use nicknames inappropriate for the hierarchy of battle.

So Zevlor means what he says here, means it enough that Tilses is convinced and drops her use of “Commander,” but there’s definitely a hint of bitterness in his voice. At least, I’ve always heard it. Zevlor is steadfast in his conviction here, even going so far as to say, “I’m done soldiering, Tilly” when discussing what will come next at Baldur’s Gate. Yet for all of that his tone conveys (understandable) anger and disappointment that it’s come to this. Zevlor doesn’t act like someone who truly wants this change, but rather someone who’s been forced to accept it.

Is it outside forces unwillingly influencing him then? Did Avernus truly change things irrevocably? No, not really. At least, not in the way Zevlor likes to claim. Tilses herself states that being a Hellrider is for life; nothing can take away that title. You lost your post? Your whole city? Most of the people under your protection? Doesn’t matter! You’re a Hellrider forever, no matter the circumstances. I can easily picture a time in Zevlor's life where he would have agreed with Tilses wholeheartedly. They are Hellriders, dammit, and so long as there’s one person looking for their help they will wield that title alongside their blades. And right now, Zevlor has a lot more than just one person in need of his assistance.

So it’s not that Avernus truly stripped them of that identity. Nothing can do that. Zevlor is not rejecting titles and planning retirement because the mechanisms of fate are forcing him to.

He’s doing all that because he’s lost confidence in himself.

Even as someone with a shaky understanding of DnD classes, I love the parallel between a broken oath and the rejection of a lifelong title. If Zevlor can fail in his oath—or in his faith entirely, according to the memories stemming from his pod—why-ever would he think that any other ‘permanent’ part of his identity was worth fighting for? If you can loose the very thing you’ve built your entire life around, every important aspect of yourself, tied to your very soul… what’s a bestowed title compared to that? Zevlor doesn’t believe himself worthy of being a Hellrider anymore, but I think that goes deeper than a string of horrific circumstances making him feel incompetent. As an Oathbreaker, Zevlor likely believes that if he couldn’t uphold that, he can’t uphold anything. Calling himself a Hellrider would be a lie. A fiction. A pathetic, dangerous, insulting fiction at that. It’s like calling yourself the “Hero” while continually failing those around you. Sure, others might insist it’s a title you’ve earned, one you will always carry with you, but you don’t believe them anymore and at a certain point calling yourself that feels worse than embracing the title of “Villain." You don’t want to be the villain… but you want to pretend you’re the hero even less. Pretending is exhausting.

We see this struggle in the many ways that Zevlor fails, or almost fails, to uphold the ideals that originally guided him. I use the term “villain�� above deliberately because Zevlor is not merely a former hero-type who’s self confidence has been shattered, or who has been reduced to a civilian, or who thinks themselves useless; he’s actively fighting against temptations that, under less stressful situations, he’d never even consider. I don’t think he is a villain, I think he’s a flawed, struggling victim who sees his own, inevitable mistakes as villainous—and the longer that warped perspective continues the easier it is to fall into bad behaviors. This cycle is perfectly summarized in the autobiography Zevlor keeps by his bed:

“When every passer-by thinks you a thief and a heretic, it is deeply tempting to become one.”

We don’t know if this is Zevlor’s autobiography (as far as I’m aware, anyway) but even if it’s not the words have clearly resonated enough for him to keep them nearby. This particular line paints a pretty clear picture of Zevlor’s struggle. If everyone you meet says you’re devil-kin, vermin, or would-be criminal, isn’t it easier to just give them what they want? If you can’t persuade them otherwise, why put in the effort of trying? If he can’t be Faithful to his God, why have faith in anything at all? If he can’t save these people—setback after setback, mistake after mistake—why is he even making the effort?

Zevlor obviously is trying, very, very hard, which is why such thoughts are merely temptations rather than actual, questionable actions. Still, the Grove gives us numerous examples of the precipice he’s balanced on—and the ways Tav can tip him in one direction or another. You can talk Zevlor down from his anger and get him to acknowledge his disgust in nearly sinking to Aradin’s level. You can also let him boil over and punch the human at a time when the last thing anyone needs is more violence. You can convince Zevlor that there are peaceful ways of stopping Kagha's ritual, or you can help him in pursuing the darker temptation to kill her. It’s a “low” thought, but at his own admission he hasn’t been above entertaining it. Zevlor’s requests for help, though always polite and humble, carry a spark of manipulation in them too. He’s not above leveraging your previously selfless good deed to his advantage—"She owes you for saving this grove"—and if you approach him before speaking with Kagha he’ll claim that the ritual will “be trouble—for all of us.” Except, no? Not really? Tav can make it clear that they’re just here for a healer, they’re only passing through, and as a fighter they are not beholden to the Grove’s sanctuary as the teiflings are. It’s not trouble for everyone involved, yet Zevlor frames it as such in the hopes that (unnecessary) self-interest may motivate you if selflessness fails. Finally, if Zevlor dies in your play-through and you use Speak the Dead on him, he will admit to having ���plenty” of secrets, none of which he’ll share. Admittedly, this may be the result of cut content, specifically a story-line in which Zevlor knowingly betrays the tieflings rather than being tricked by the Absolute. Still, the game as it stands is the story we have and within it we’re given a man who is both fighting against these dark urges (ha) and has a past riddled with secrets. If Zevlor is anything, it’s blunt when it comes to his own failings, accurate and otherwise. So how terrible must these secrets be that he outright refuses to divulge them when, generally speaking, most corpses speak freely in death?

However, out of all of this the struggle I’m most intrigued by is the one surrounding the gate. Zevlor represents the tieflings: persecuted refugees, vulnerable civilians, people seeking to survive through cooperation, specifically by joining a community. Kagha represents the druids (or at least a vocal subset of them in Halsin’s absence): bigoted individuals, powerful fighters, people seeking to survive by giving in to their fears, specifically by keeping themselves isolated. This is the moral dichotomy of the Grove and it is symbolized through the gate. Zevlor wants to open it to everyone whereas Kagha wants to close it, permanently.

So isn’t it odd that Zevlor is the one ordering it shut?

When the scene first starts Kanon shouts down that no, he won’t open the gate. Zevlor said that no one is allowed in. Notably, he’s saying this to Aradin and his crew, people that the Grove is at least passingly familiar with, given that Halsin left with them to search the temple. It’s also notable that Zevlor isn’t expecting goblins to attack the Grove. He’s shocked that this is suddenly a problem, brought about by Aradin’s decision—“You lead them here?”— and the entire point of staying at the Grove is that it’s at least comparatively safe. Yes, there have been more attacks lately, but Zevlor seems to be relying on the Grove’s relatively unknown location, as well as the fact that goblins are normally disorganized. The safety is only compromised because Aradin brought a hunting party back, so Zevlor has no reason to expect any visitors, let alone ones that would be a threat.

More importantly, he should welcome such visitors even if he did expect them. After all, that’s precisely what the tieflings are: strangers with no ulterior motives other than to survive. Broadly speaking it makes perfect sense why he'd shut the gates. Zevlor’s first priority is to his people, so anything that keeps them safe is, theoretically, a good thing. But through the lens of his specific characterization and this specific, moral dilemma, it’s an awfully hypocritical decision. Based on everything we’ve seen, our party would not have been welcomed by Zevlor if we’d arrived without danger on our heels and a rescue to endear him to us. So his people should be welcomed, trusted, kept safe, given the benefit of the doubt… but Zevlor isn’t necessarily willing to extend that same trust to others. At the end of the day, he and Kagha want a version of the same thing: safety for those they deem are worthy of it.

It’s precisely these flaws and temptations that make Zevlor such a great character to me, even before he’s tricked by the Absolute. The fandom has leaned hard into Zevlor’s self-loathing and let me tell you, I love it (kisses, hugs, and cookies for you all), but canonically I think he has more reason to fear himself than we tend to portray in the H/C fics. I’m not saying he’s a bad person. Rather, it’s precisely because Zevlor is such a good person that he has the capacity to fall so far. It’s his all-consuming desire to protect his family that leads Zevlor to do and consider so much that a paladin would normally balk at. Denying others the safety you’ve been granted. Subtly manipulating others to do your dirty work. Considering murder.

Zevlor is someone torn between doing the Right Thing and the thing he believes will help those under his care survive. Importantly, when we first meet him he considers these to be two separate courses of action. So can you imagine what goes through his head when he first sees Tav saving everyone and doing so righteously? I think it’s integral to Zevlor’s characterization that the game all but forces you to play the Good Guy in that initial encounter. A cut scene starts, you’re thrown into combat immediately afterwards, and unless you plan to start attacking the Grove members alongside the goblins (which the mechanics discourage through the coloring that distinguishes enemies from allies) you will always finish this fight as Zevlor’s hero. Sure, you can be an asshole afterwards and demand payment. You could already be plotting your betrayal and the slaughter of all the refugees. But in this moment you are nothing but a miracle made flesh in his eyes. Right from the start Tav is succeeding in all the ways Zevlor feels like he's failed. You're the hero.

More specifically, you’re an Every-Man Hero. We might have epic backstories for our Tavs, but within confines of the game you’re largely a nobody when not playing an Origin character. How powerful must that have been to witness then? A total stranger, someone who has no ties to the tieflings or even, depending on your class, any sworn reason to help others, putting their life on the line to save what is most precious to Zevlor? I think a lot about the fact that he never asks Wyll to step in and try to change Kagha’s mind. She owes him just as much as she does Tav—Wyll is an equal participant in that fight and, if your shoddy play style is anything like mine, he likely did more damage—and Wyll is clearly invested in the tiefling’s survival, training the kids as he is. Now, obviously Zevlor’s reticence is largely a question of assigned roles (we need to be the one engaging with Kagha because we’re the protagonist/player) but, like Zevlor’s choice to include himself in the Not a Fighter group, it would have been all too easy to explain this away within the narrative. One comment about how Wyll already tried and failed, or how Kagha doesn’t trust Warlocks, or hell, maybe you don’t meet Wyll in the Grove at all. It’s an easy thing to accomplish and though this is edging more into the realm of headcanon than anything else, I can’t help but think that Wyll isn’t the kind of person that Zevlor could turn to for help right now. Because he’s a folk hero. The Blade of Frontiers, known far and wide for his impressive, selfless deeds. Zevlor is struggling so hard to keep the tieflings safe, tempted by all the unsavory solutions that might achieve that, drowning in self-hatred as his past and current failings catch up with him, wanting nothing more than to be his peoples’ protector:

“I would be a paladin again—with a god’s purpose, a god’s power. Everything I needed to protect my people. And all the while, the cult tortured them. They fought, and ran, and died around me, while I imagined myself their savior.”

Three of the things Zevlor mutters while trapped in the pod are “Hellrider… for… life…,” “Trust… in me…,” and “Children… look away… look at me…” He wants to be the protector, the one children look to for reassurance, he wants his words to Tilly to be a lie and he wants a way to prove that he is a Hellrider for life… but he’s not. At least, Zevlor doesn’t believe it. He lost his titles while Wyll still proudly bears his. Wyll trains the children to fight while Zevlor can only get swept up in anger at them being threatened. The people trust Wyll, adore him, he’s the hero and Zevlor… is not. Not anymore.

It’s too painful to approach Wyll and admit all that. That would be a hell of a blow to Zevlor's pride. But Tav? A stranger? A nobody? The Every-man who had no reason to help or reputation pressuring them, saving them anyway? That’s inspiring. Someone like Tav could be the answer and even, perhaps, the proof that Zevlor could redeem himself. Neither of them are folk heroes, untouchable in their assumed perfection. Tav is a living, breathing example of how the flawed, everyday adventurer can be everything Zevlor strives for.

No wonder he won’t shut up about them in the Shadowlands.

All of this is why it’s so tragic that Zevlor wasn’t given a redemption arc. Sure, you can recruit him for the final battle against the Netherbrain, but there’s no quest to change the cast’s opinion of him—or change Zevlor’s opinion of himself. All his content at the end of Act 2 and Act 3 reinforces that self-hatred.

Let’s make a list, shall we?

Nearly every line of his reunion with Tav has Zevlor painting himself in the worst light possible, from “a lie kinder than the truth” to his refusal to join you because he believes he’ll stab you in the back. You cannot convince him of the Absolute’s manipulation and there’s no response to his belief that such horrors start within the person like, “Of course it does! Because we’re all flawed and equally capable of good and evil deeds! That potential doesn’t make you irredeemable, Zevlor, it makes you mortal!!”

He’s utterly failed as his peoples’ champion and he’s also deemed “unworthy” of being a True Soul. Obviously not being chosen by the Absolute is a good thing, but for a man drowning in self-loathing that’s one hell of a complicated rejection.

Nearly all the tieflings hate him now, all those people he’s been sacrificing his soul to keep safe. I found it particularly devastating that this is one of the rare occasions where nailing a persuasion check doesn’t change the person’s mind. There’s at least one tiefling at Moonrise (I’m drawing a blank on her name) who will believe you when you explain how the Absolute influenced Zevlor, but that doesn’t lead to forgiveness.

Zevlor is deemed unimportant on a literal, narrative level. He is very easy to miss in the pods (I nearly did on my first play-through) and the game does incredibly little to dissuade you from that mistake. Putting aside for a moment that obviously an Origin companion is more significant than a minor NPC, compare this to Shadowheart screaming from her own pod, the game making it abundantly clear that this is someone in need of help—someone worth rescuing. She’ll even say later that you could have run past, more concerned with your own survival and the big picture heroics to bother with her. How must it feel then, if Zevlor ever learns that Tav was there and never stopped for him?

If you do miss Zevlor… oh boy. We’ve probably all seen at least a recording of Orin’s so-called gift. There are plenty of characters who can meet untimely and devastating ends, but very few go through this level of horror. Zevlor—after being held captive, remember—is tortured by God’s Favorite Torturer. He is stripped of his personhood and reduced to a mere “message,” a “pet.” Zevlor is further humiliated in death by being literally stripped of his armor—not just vulnerable in his nakedness, but denied the last symbol of his faith, his status, his power—and it’s always struck me that this is the closest we see to him 'enjoying' an intimate moment, this parody in Orin’s painting. Zevlor is one of the NPC’s most in need of physical comfort and instead he’s forced into this torturous mockery of a sex scene. It also hits hard that when Tav first spots his body the narration says that Zevlor “might almost be sleeping.” Undoubtedly this is a man who isn’t taking good care of himself. He needs a good night’s rest, yet this horrifying trick is all he gets.

As if all this weren’t enough, most of your companion are VERY critical of Zevlor while commenting on his demise. It’s one thing for the tieflings to believe the worst given their ignorance and the fact that they are the ones who suffered from Zevlor’s failure, but your company understands the Absolute and the ways that she gets her hooks in people. Still, Astarion calls him a “wet rag” even if he did deserve better than this. Shadowheart wouldn’t have wished this on him either, but she can’t help but slip in a “no matter his failings.” Lae’zel, often the most blunt, straight up says that he was “always destined to fail his people—and to fail us.” Wyll shakes his head and intones that “even good intentions can lead us down deadly paths.” Only Gale and Karlach stick to mourning the dead rather than airing his shortcomings.

When I spoke to my allies before the final battle Zevlor didn’t have a cut scene. It became clear to me later that this must have been a bug in my play-through, but at the time it only reinforced my feelings that his story was incomplete. Looking on Youtube I’ve found recordings of him saying that he is a Hellrider once more and he would “die a proud man if [he] were to die this day”… but that rings as terribly hollow given where we left him. Last we were together, Zevlor was saying in no uncertain terms that he could not be trusted, he would fail again, he was unworthy of forgiveness. Where did this change of heart come from? It makes perfect sense that he would help Tav in this moment—he begs to be of some use after getting free—but not that he would present himself with such confidence. Within the story as it’s been told this feels… fake. Like Zevlor is putting on a mask to fit the mood of this lively, optimistic party. Which, in turn, gives the “I would die a proud man” line a terrifying implication to me. Does Zevlor expect to die this day? Does he intend to? What would persuade him not to lay down his life here and now? His mission is complete. The tieflings are safe—though not by his hand. There's no hero's welcome waiting for him after this battle. They hate him. He hates himself, and by his own admission the one thing that could still make him proud would be to die at Tav’s side, trying to do one last bit of good. If someone said that to me after everything Zevlor has been through I would keep them far away from the front lines.

(I did, for the record lol.)

I’m not saying anything new then when I go, “Larian, PLEASE add more to his story.” Give us a Zevlor side-quest to renew his oath. Let us invite him to our camp. Something to link the broken man mid-game and the confident fighter at the end so that the latter doesn’t feel like an alarm bell with two legs and a tail. I mean yeah, I get hooked on minor characters so 75% of this is simply me wanting more content of a fave, but I also I do legitimately believe that BG3’s story would benefit from tying up loose ends like this.

Zevlor is a fantastic character, someone who contains an astounding amount of complexity for so little screen time. You have to follow up on that complexity though. If he’s meant to be a purely tragic figure, okay, fine, that’s the ending you get with Orin. But one where he joins you with a smile and reclaims a title he's previously rejected with such fervor requires more work in the middle; a through-line that explains how someone with so much self-loathing learns to think of himself as the hero again.

Because it does all come down to Zevlor’s perception of himself. He was always a hero, flaws and all. He always was and always will be a Hellrider.

The UI knows what's up :)

[melbatron5000]

The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies. Edit: Found it!

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

[king-crawler]

HEY HI HELLO

Sorry for the random message here In the asks, it's ok if you don't see this or answer it since you probably got a lot already and I understand if you don't see this!/gen

But first of all, I just wanna say

I CANT BELIEVE I HAVENT WATCHED YOUR ANALYSIS VIDEO SOONER IM SO FUCKING LATE MAN

It's so well done and so fucking funny, I was literally smiling and cackling through the whole thing, it's shocking how similar our humor is

NOT TO MENTION THE END SCENE AREE YOU KIDDING HOW DID YOU MATCH THE LYRICS SO PERFECTLY TO THE FUCKING LORE ITS INCREDIBLE 😭💜/GEN, POS

It's insane how much dedication is put into it, let alone singlehandedly feeding turbo fans as myself

Genuinely thought it's so nice seeing more content for a hyperfixation I've had since 2012, and the fandom coming back along with this video Genuinely brings me so much joy as someone who's loved this movie since I was a kid

Sorry for the ramble but genuinely thank you for making that video, I can't wait to see what other stuff you do, wreck it ralph or not I WILL be tuning in/gen, pos

Okay second of all

The main reason why I'm sending this is because of sometning I noticed while rewatching a scene in the movie

Now, this might be me over analyzing as I usually do but it feels TOO. OBVIOUS.

SO

IN the kart bakery scene where vanellope and ralph go to bake a kart, they obviously make their way into the building and into the main room

You see all the Karts of course, and It pans to the one vanellope chooses

Which, at first glance you wouldn't really pay too much attention, especially when watching it for the first time, she's just picking the model she likes

..but looking back at the scene

Vanellope's kart model, how it was supposed to look, looks very

Familiar

Because the kart she chose..

...is a red and white kart

With stripes down the middle, with a very similar shape to a..certain persons kart. Now this might just be nothing, it's probably just like I said, and over analysis on my part

But the kart the chose looks WAY too similar to turbo's, not to mention the stripe is down the middle, just like turbo's car on the cabinet art of him

And vanellope could've chosen ANY kart

But it was that specific kart she chose, out of any of the karts

Not to mention in some of vanellope's concept art...

(Art made by Lorelay Bove)

..Vanellope's concept design and turbos designs strike SCARILY uncanny resemblances to each others designs

From the helmet and colors

All the way down to her GOGGLES having the SAME. YELLOW. TINT. that candy's have in the movie, which have the same effect here. There's no way that this didn't have the intent to mirror turbo purposefully

So with that in mind, the kart vanellope chose in the kart bakery scene being turbo foreshadowing, wouldn't be too out of place, nor would it be too far off

Turbo's foreshadowing was always prominent, even in the smallest details you wouldn't focus on, just like he's infecting this world as a virus, little by little, everywhere. You. Turn.

Aaaand that's basically all I have to really say

Sorry for the long ramble, I've been thinking of submitting this for awhile now, especially after I told a friend about this and they mentioned that this should be submitted to you

So I decided to go ahead and just do it, no matter how wild my comparisons might sound-

Anyways, I hope you have a good day, night, or what time it may be, and keep being awesome! I can't wait to hear back if you see this! Bye-bye! ❤️🏎🏆

P.s

I've been quoting these since I watched the video and haven't stopped

Thanks for destroying my humor even more-/pos

Okay bye bye now-

-skitters away-

NO YOU'RE SO FUCKING RIGHT OH MY GOD VANELLOPE WAS ALWAYS A TURBO PARALLEL??? CHAT IS THIS TRUE. IVE NEVER SEEN THAT CONCEPT ART OF HER TEEHEE THANKS FOR SHARING

also God. This is 99% just a coincidence with zero merit because its such a common gesture- but Ralph and Vanellope doing their thumbs up.. maybe Turbo parallels ?? and like the EXACT same poses too:

Vanellope having one hand on the steering wheel and the other doing a thumbs up while facing the camera.

Ralph hunched over doing the double thumbs up with the visor tinting his face yellow. EXCUSE ME HMMM?? WHAT THE FUCK??

NOW COULD I BE CHERRY PICKING? PERHAPS. but when Turbo has barely a minute of screentime, there's not a lot i can pick from, and things SURE ARE LINING UP... (I'm cherry picking)

SO SHHHHHH... ❤️❤️❤️❤️ LET ME HAVE MY LITTLE CONSPIRASCY

[a-doubleh-x]

Buttonblossom Analysis in TADC Episode 2

(Background rainbows: hint, hint)

Ragatha was so sweet to Pomni in episode 2 🥺💖 Most people caught onto the obvious fact that Raggs is being codependant and leans onto toxic positivity on the way she tries to cheer up Pomni, but I still think for the most part her heart is in the right place.

I liked their dynamic in episode 1, but I liked it so much in 2 I decided to write a little analysis on it (plus the ship fuel 👀) in preparation for the romance fic I'm writing about them.

Without further ado, let's go!

Looking back at Ragatha, on the good side, she made some very strong, active efforts to help her during her transition into the digital realm. She checked first thing in the morning if she was okay, she tried to make her feel included in the adventure at the beginning and showed care for her safety overall.

My favorite scene, though, is when the circus gang falls into the fudge river and after checking in on them, the first thing she says is: "Poor Pomni!" 😭 Girlie is so empathetic she even manages to care for someone who's not even there, while she's in a terrible situation herself!

I think this proves how much of a good person Raggs is. She doesn't just help people to feel good or superior, she does it because she geniuenly cares for other people's wellbeing and I find that very noble 😊

On the negative side, she seems to have some very particular communication issues with Pomni, even though she seems to be the circus memeber she cares the most about at the moment.

For starters, her attitude comes off as a little condescending very often. She hardly asks questions to Pomni and tends to assume for her. She hardly acknowledges some of her struggles and tries to downplay them, like when she degrades their experience as "larping". Also, she makes Pomni feel like a child when she tries to "hype her up" in her own words.

If we take Pomni's nightmare into consideration, it seems she believes Ragatha thinks Pomni is not "cut out for it", which might be a result of her condescending behavior I just mentioned.

This makes sense to me and also sheds a little bit of light on how Pomni sees herself as: small and insignificant. It's unclear at the moment how she was before on the physical world, but I speculate based on this evidence she probably didn't think she had much agency in her life (just how she feels in the circus).

At the end, however, thanks to her experience with Gummigoo and looking at the crew grief over Kaufmo's abstraction, Pomni opens herself more to the crew, which is a very good sign.

I think her current dynamic with Ragatha is wicked cool! ✨️ There's a lot of room for growth, which is good in my opinion. Ragatha clearly cares a lot about Pomni and I think with time she could grow to reciprocate her as well.

Despite her cowardness in episode 1, I always had the feeling that Pomz was deep down a caring individual as well, which was solidly proven in 2 with her interactions with Gummi.

On the fanon side, I saw a lot of fans foaming at the mouth (myself included) over the fact that Ragatha was such a tryhard with Pomni (which was anticipated to be the contrary). Some fans have interpreted their potential dynamics as both being shy, which I really, really like.

I believe I will definitely include that in my future fanfic. Another idea I wanted to explore is Pomni talking to Ragatha about her overbearing issues, while still appreciating her good qualities at the same time.

I think it's going to be great ☺️❤ I already look forward to what the end result is going to be. I love mutual pining and I love sweet lesbians caring for each other (even when they're silly girlfails). I'm planning to start by submitting chapter 1 by next Friday and submit a new one every following one, as I've done before.

Get ready for digital lesbian shenanigans 🎪💙🎀 See ya!

[wordsinhaled]

hi there! I started following you after seeing your essay-long answers to DBD things in tags, and it made me very happy to see someone as deeply analytical as me about this show.

I wanted to ask you: if you were given the final say, how would you want the show to confirm both Charles' bisexuality and his romantic feelings towards Edwin (as both can be done at different points)?

Personally, I can't get the idea out of my head that it will be done with some kind of tragic goodbye, somehow Charles and Edwin have to separate, and Charles either verbally confirms it or kisses Edwin goodbye. Not saying that's what I want, but it's what I expect the writers to do.

Hope you're having a good day.

btw, would love to hear you talk more about timerogue (Fifteen/Rogue), I need more essay-long analysis about those two.

Hi there! <3 I am so happy you have enjoyed my tag rambles! And thank you so much for asking this great question, I had a lot of fun thinking through it!

I have many thoughts on this! Sticking them under a cut eventually because it is a long post!

Re: Charles' bisexuality: So the thing is I think that the DBDA universe generally seems to eschew labels in favor of showing rather than telling the audience what the characters' identities are. For example Jenny is interested in dating women, which is clear from her dialogue, and she goes on a date with Maxine, but she's never labeled anything. Edwin is never labeled anything by anyone in the narrative, either, but the narrative shows us that his only love interests and his desires and romantic feelings are for other boys. I would argue that we have been shown textually that Charles is bi, already, the same way the show shows-not-tells us other things. Charles by the end of the first season feels bi enough to me in a way that just feels like someone... living a bi life, and not yet realizing they might in fact be in love back with their best friend. I don't know how else to put it but I hope that makes sense. (My alternate, slightly sappier version of canon is that Charles fell for Edwin the first night, but has shoved it down for the duration of their friendship, but the former feels more likely as the direction I think we see on screen.) We are being told Charles is bi:

In the way Charles himself draws parallels between why he likes Crystal (his romantic love interest) and Edwin, pointing out they share the exact same traits

In the way he gives Crystal and Edwin the same genre of deep, loving gaze

In the way he thinks Crystal is fit, and he checks Edwin out, on multiple occasions, but only flirts with Edwin overtly in episode 8 ("My smile is pretty convincing," plus more than the usual amount of physical touch/proximity and less plausible deniability) once he can be assured by Edwin's recent confession that doing so will not be poorly received

In the different kinds of softness and masculinity he displays around both Crystal and Edwin

In the way that, despite not knowing the ending, he draws a parallel between himself and Edwin & a pair of lovers from classical mythology as though it is the most natural thing in the world to bring up the story of Orpheus & Eurydice, making overt the romantic potential of his relationship with Edwin

In the way he is so quick to write off that the two jocks were "just best mates" the way a person does when they are recognizing their own queerness in themselves and have to keep themselves safe from it, because of the environment that they are in (Charles being the Sports Lad, needing to fit in with other sports lads, and needing to avoid the censure/violence of his father)

And coming off the above, in the way that Charles navigates along the toughness-sensitivity spectrum within the social constructs of being "the brawn"

In the entire sparring scene in episode 1, tbh. The rituals are very intricate /drops mic

I understand the importance that's been placed by fandom spaces on "confirmed canon" queerness that is spelled out in so many words, given a label that can be pointed to to say "This character is definitely this!" but I think (and this is just my personal opinion) it can be reductive sometimes, and I don't really want Charles to label himself in that kind of way, just as much as I don't think the other characters needed the labels to "confirm" the queerness of their relationships or indeed of the show; having him be the one to do it for being bi would set him apart. I also think taking into account the time period that he grew up in, Charles would care more about living by the truth of how he feels and how he can use those feelings to connect with the one he loves, than what to call it. I just don't think we're gonna get like a "Hello my name is Charles Rowland and I am a verified bisexual"-type scene in season 2, and I think that's okay, and I don't really think that's the way for the show to 'confirm' it. Mind you I would love to see Charles talk about how it makes him feel to realize his feelings, and how his feelings for Edwin are different compared to how other people make him feel, because god, I love Charles so much and I just know such a scene would both destroy and heal me. FEEL YOUR FEELINGS, CHARLES <3

I think it says something really important that many, many, many people took one look at Charles Rowland and said: "Oh, he's bi." Not like... he has bi energy, or could plausibly be bi, or whatever; for so many people he just resonated as being bi, in a very organic way. (I know there are people who do read Charles as being straight/having rejected Edwin in s1, and I respect that, but they probably will not like my ideas about Charles very much, then, tbh.)

For what it's worth, though, Jayden's acting choices playing Charles, and the way Jayden (and George) have addressed the 'straight best friend Charles' line of questioning during interviews, both make it seem to me that Jayden is intentionally playing Charles as bi and we are already supposed to understand this for what it is, based on Charles' actions—just as we understand similar things about other characters inner worlds we are shown. Whether Charles is consciously aware of it yet is more the up-for-debate part to me, personally. It's like he is dancing right on the edge of the revelation, or something, but his actions (and his EYES) are speaking for him pretty loudly already.

As for how he confirms it more obviously? Hmm. Well, I'll admit i think a kiss between them would be lovely, if only because I think it would quite possibly be the Most Kiss a kiss could be, with all of Charles' tenderness and adoration for Edwin poured into it. I also think it would be in-character, given Charles canonically misses kissing, and wants to do it with people he's interested in romantically (see Crystal).

Charles struggles with being able to admit romantic feelings out loud because he is scared of his own capacity to hurt Edwin; after all the only example of "romantic" love he has seen was his parents' marriage. Charles is a person who acts first, thinks later, but in this process of understanding what he feels for Edwin he's taking his time and being the opposite of impulsive. This shows how important his relationship to Edwin is to him and his commitment to Getting It Right. Even with that deliberateness, though, I think it would still be easier for him to express himself through a tangible action like a kiss than through words—at least at first.

It reminds me of this scene from the first draft of Maurice between Maurice and Alec. Alec is struggling to verbalize his feelings for Maurice, although he does know he feels them. He can say other things, but naming love for what it is is the challenge; and in the end they use a shared memory of a time Alec showed his love through actions (running through the rosebushes just to see Maurice's face) to communicate and mutually understand their love for each other. Similarly, Charles finds it difficult to admit a deep romantic love aloud, but his actions speak louder, in his determination to retrieve Edwin from hell ("There's no one else—no one else—I would go to hell for") and he can allude to the romantic implications of the act, by referencing the Orpheus & Eurydice myth. It similarly becomes, I may not be able to say the words, but you and I both know the lengths i would go to for you.

Maurice : "I love you, sir be damned." Alec: "Maurice"—never before had the word been spoken—"you're an angel." Maurice: "I don't want to hear that." Alec: "Maurice, Maurice" his voice failed also; he had once said the rest to a woman. "Maurice - what you've said I feel. Understand?" M: "I think so, but I want to be sure. Remember those rose bushes in the other rain? - Look at me hard - That's right. That'll do. It's settled."

As far as the catalyst for Charles revealing his feelings... a tragic goodbye—gosh, as heartbreakingly compelling as I know seeing George and Jayden act that out would be (I know they would crush it), I really hope the writers don't do that to them! The thing about Payneland that is so refreshing to me is how they manage to subvert trope expectations and break out of the tragic narratives they are placed in, and I think they would ultimately defy any attempt at separation. As Edwin says, "I will make sure that doesn't happen," about them ever being split up. I am rooting for a happily ever after for them, because they have both been through enough, and have fought tooth and nail to stay together.

Steve Yockey has mentioned potentially having Desire of the Endless cameo on the show and I also think having them and Charles interact would be a fascinating way to bring to light some of the deep-rooted stuff Charles struggles with around love (and would nicely parallel Edwin's experience with the Cat King which catalyzed his Charles-feelings realization). I also like the idea of the team maybe meeting a couple during a case who parallel Edwin and Charles and are romantically involved. Seeing that would allow Charles to externalize the way he feels for Edwin by seeing it reflected back to him by other people; sometimes things are easier to pick up on in others than in ourselves. I think that would be a fun way to get him to see what's been there under the surface for some time :)

Oh my god this got so long asfhlgkjhg SORRY

(I'm sure the Doccy Who fixation will come back in time for the Christmas special! :D)

[tallseaweed]

Buddy Request: are you a Loki obsessed high fantasy lover?

I would really like to connect with fellow Loki fans who want to rant about/analyze Loki and Thor's psychology, family dynamics, Asgardian society, Jotunheim, magic/seiðr, and the Nine Realms. Ideas/thoughts that aren't canon-compliant with the MCU are more than welcome!

Here are some fics with these types of themes that I have thoroughly enjoyed and been inspired by:

Ásgarðrian Galdr by Valerie_Vancollie

Bargaining by proantagonist ( @proantagonista ) [thank you SO MUCH for the rec @alwida10!]

Frostbite by Maiden_of_Asgard

Once More With Empathy by Kairyn ( @bfaymiller )

A Fairytale Beginning by the_lady_amphitrite ( @the-lady-amphitrite )

Let me set the scene:

For the past year and a half, I've been working on developing a longfic featuring a Thor 2011 Loki and an OC Sigyn. Honestly, I don't think that I'll get around to posting it anytime soon (there's still so much work to be done on it), but it's constantly on my mind. It's sort of a hybrid concept of the MCU, Norse Mythology, my own ideas, OCs, and magic systems. It has an epic scope with multiple arcs and characters from most of the Nine Realms. Do you like characters with wings? I got you covered. An imminent threat to the Nine Realms? Check. An in-depth analysis of Ásgarðr and Jǫtunheimr's history uncovered during Loki's identity crisis? A Jǫtunn OC? A Laufey that never wanted to lose his child? Check, check, and check.

I've found it hard to talk to people about all this because it involves a LOT of worldbuilding. Epic fantasy definitely isn't for everyone and this will not be a "light" read. Some non-fanfic stories that have inspired me along the way include the Roots of Chaos series by Samantha Shannon (The Priory of the Orange Tree and A Day of Fallen Night) and Lord of the Rings by J.R.R. Tolkien. So if you like those types of stories, you might like the ideas I come up with.

If you relate to anything I've said, I also want to mention that I would love to hear about your ideas as well! If you feel trapped inside your own head and feel hesitant to "info-dump" on people, I am the person for you. And hey, maybe we can inspire each other :) Fanfiction is not about gatekeeping, and I have been unabashedly inspired by so many different takes on Loki that I've read along the way.

Sending this out into the Tumblr void, hoping it finds the right people!

[itshermocrates]

POISON- Ep. 4 Analysis

I have no idea if someone has already done something like this but these two unfortunate souls have been in my mind since I watched the show TWO WEEKS AGO. So I'm gonna share with you this personal analysis of what we saw during the Poison scene in Ep. 4 of Hazbin Hotel.

Again, I don’t know if anyone has already talked about this (I’m not very active on tumblr), but I think that what we see as Angel sings Poison is made not only to tell us how the relationship Angel has with Valentino is but ALSO how it came to be thanks to everything that's happening on screen while he's singing.

Of course the lyrics are also important so I’ll make some reference to those as well, but I’ll focus mainly on what we see. Since I can only add 30 pics in this post this will be a bit difficult but I will try my best.

SOME CONTENT WARNINGS! I'm not sure if this is even necessary but anyways,,, Pychological abuse, abuse, violence, domestic violence, drugs, addiction, sex work, dubius consent, sexual violence, abusive relationship, unhealthy power dynamics, angst, suicidal ideas (hinted), etc.

Now, without further ado, let's begin!

Before the song, Valentino and Angel have a fight in his dressing room. I want to start here because during that fight Angel gets a black eye and we get to see how the walls of his room are filled, not only by security cameras, but also by a lot of eyes that follow Angel wherever he goes inside the room. We will see more of these eyes soon enough.

After that fight Angel sends Charlie back home and we see a bit more of what we could expect from Valentino with his manipulation tactics. The sweet tone and the praise as he embraces Angel from behind, too close and too intimate considering he will be soon forcing him to go back to work.

These are the tricks every abuser uses to manipulate and control the people around them, and it’s what Valentino uses all the time with Angel.

This is the behavior of an abusive boyfriend, a dynamic they have in the present, but once Poison starts, we are presented with their backstory. Now we will get to see how that dynamic is even possible, how these two ended up together and how their relationship started and evolved.

Valentino sits next to the movie director and everyone starts moving to prepare the scene they are about to film. He is the one in control here, the one calling for action again and deciding who does what and when. And just like that we see how Angel's black eye is concealed by makeup, erasing the marks of what had just happened and metaphorically erasing the violence of the relationship he is in now.

Angel closes his eyes in displeasure, focusing on what Valentino wants from him. When he opens his eyes again, his expression is completely different, this Angel without bruises, is not only a version of him from minutes ago, before the fight with Val, or even prior to the abuse… This is the Angel before Valentino.

He walks backwards, as if he was going back in time, moving easily with the playful shamelessness that characterized him back then. When he sings “I’m not above a love to cash in” he was most likely referring to his past as a sex worker or at least, as someone who didn’t mind to sell his affections to get what he needed/wanted. During this time, he would most likely go clubbing every night, since it offered a good way to earn easy money while he had a great time, partying, drinking, consuming…

Angel probably was the type of person who used those who desired him to get whatever he wanted, a game he knew how to play. Even if it could get risky or inconvenient, he was a free soul, he was still in control of what he did or didn't do with all those people, so at the end of the day, he always won. That’s what he believes as he playfully lays back on the setting’s bed again.

That had always been true after all, or at least it was until he came across someone that beated him at his own game. Someone who would take that freedom and control over his own body away from him.

His expression changes again to one of terror when a shadow looms over his body from outside the frame. That’s the silhouette of the men he was previously filming with, but we can also imagine that this figure suddenly changing the way he moves, reacts and feels, was meant to represent Valentino.

After the other actors surround him, and the scene fades to black, we are shown what could have been Angel's previous workplace. A stripclub where he danced for money and probably engaged in sex work in a somewhat safe and controlled environment. Back then he had become popular enough to be "the star" of his own show, and a performer good enough to get a reputation that would eventually reach the ears of one of the most powerful overlords in that district.

Valentino discovered him maybe by chance, or maybe not. Maybe he had heard of Angel Dust and wanted to see for himself if this dancer was as good and pretty as all those people said. And after watching him perform Valentino was the furthest from disappointed, he had enjoyed the show so much that he decided to take a closer look at this Angel Dust’s skills.

He approaches him, maybe as a client, or maybe just as a guy interested in what he had to offer, and although Angel doesn't trust him at first, he ends up entering his game.

He was just another man who wanted to fuck him, one that had enough money to spoil him all he had ever wanted and more. It was quite the opportunity for someone as low in the food chain as him, and Angel had already played with rich men like Valentino before, he knew what he was doing.

So Angel took the bait, and had sex with Valentino. Probably a blowjob in that same club he danced at that served as a test for Valentino.

Now we have a scene with two Valentinos, one that is about to get head from Angel with a video camera on his hand, and another Val standing behind the cameras and lights of what we now know to be another movie set. The first Val we saw, extending his hand before Angel when he finished his performance, was the Val of his past, the one he sucked off the night they met. That was someone Angel thought to be somewhat honest, or, at the very least a man he heavily underestimated.

It's the playful man that winks seductively at him in the set from afar with those red hot eyes he fell for, the same that quickly turns into a different guy with similar clothes (red jacket and white fur) now recording him on set. Someone who quickly became a stranger to Angel, just as he is for us, since we can’t even see his face.

The second Val it's the real one, the one standing next to the movie director watching everything with calculating eyes and a dangerous smile. That's the man who told Angel all those red hot lies he believed to be true, and the one judging with this first meeting if the spider was a worthy investment or not.

Angel proves to be good enough. Valentino likes him, and after that night he starts to actively pursue Angel but he didn’t do that as a simple client. He can tell Angel isn't a common whore, he has talent, charisma and he's been playing this game for long enough to know all the tricks. One can only become so successful in this world knowing how to play their cards well.

It’s obvious then what he has to do to turn Angel into his next movie star. Valentino needs to make him fall in love with him and make him believe that Valentino can love him just as much. This is exactly what he is going to do.

On screen we see how Valentino's sex pollen (he's a moth guys, it has to be sex pollen) starts to fill the scene, and as it expands it engulfs Angel, making us know just how captivated, how absorbed he will end up being.

Note: I know there’s a theory that says that Valentino’s power comes from his saliva or something like that and I haven’t read it or anything, but I do believe the smoke/fog that surrounds him has the same effect as the “sex pollen” trope. Or at least it’s similar.

The red fog expands all over the frame, emphasizing Valentino’s overpowering skills and charisma. When it clears, we see Angel in a different place while he sings the second line of the lyrics “What’s the worst part of this hell, I can only blame myself”.

His expression is one of pure anguish and regret, and he’s saying this while standing in front of Valentino in his apartment. He's talking about how naive he was for believing all of Valentino's lies, to truly believe that what he felt for Angel was love. He blames himself for buying this love story and falling for him so hard it made him very easy to manipulate. He regrets not having seen it before it was too late.

Because when Valentino’s back appears at the left corner of the frame, with an extended hand and smoke-made chains, it’s Angel the one who finally cuts the distance and accepts the chains Val is offering him.

Angel was too blinded by Valentino’s courting, by his sweet words and lovely gestures, but also by the constant push and pull of their dynamic, the flirting, the teases, the seduction. He loved the attention and he loved the sense of control, of power, he could feel when he was with Valentino, an overlord no less, a demon so rich and powerful he could have anyone he could have ever wanted. But Val had chosen him, him of all people.

This brief initial moment represents the regret he feels when he remembers how it all started, when Angel thinks about the beginning of their relationship, a time when everything seemed fine and their sexual chemistry made him lose all sense of reason. Because with Val everything ended up leading him to his bed.

After this short display of regret, we are presented a sequence made to represent the fantasy Angel indulged himself in, an illusion tinted in pink colors and fun costumes. This is the story Valentino had carefully created for him to make him fall in love with him, a story that made the spider feel so good when he was by his side, he could easily excuse any warning sign in his sight.

Because Angel would obviously want to be with Valentino when all he knew about him was his lover persona, a facade that portrayed him as a passionate lover and playful partner, his (soon to be) poison.

They had fun and even when Valentino showed little fragments of his true intentions and personality, Angel was too blinded to notice that he was starting to lose the very game he had considered himself a master of. Valentino and the relationship Angel had with him was addictive, so it didn't matter what happened, Angel always came back. You can think of this as the result of Valentino’s sex pollen, his charisma or a combination of both, depending on what flavor of angst is your favorite.

What we can know for sure, is that they were both performers in their own ways, both players in the game of love, so Angel could have excused and normalized a lot of things he shouldn't have. Knowing their line of work, of course that they could get a bit too intense every now and then, of course things could get a bit out of hand between them, they were just sooo dramatic.

It was that rollercoaster of emotions, the raw intensity of it all what ended up hooking Angel so much. The playfulness that could get a bit dangerous really fast, even if the Valentino he thought he knew would never really hurt him. Right?

A few little details I like about this sequence are the way we get to see Valentino’s home in the background and how the colors of his clothes and body are darker than usual but still lighter in comparison to what we will see in the following scenes, indicating how this was still the “nice” version of Valentino.

In the same way, Angel is playing with the chains bounding his wrists together, not his neck (yet), telling us that he’s playing with fire, quite literally dancing with the idea of being owned by Val, but he is still a free soul. In this moment he was falling hard and quick for Valentino’s lies, but he wasn’t his captive yet.

He’s having fun while being manhandled by Valentino, both physically and emotionally, but he still thinks of it as a game, another part of their sex life and how they naturally work as a couple. It’s exciting, it’s new and Angel loves it.

Not knowing that the longer he stays the more power is giving Val over him. Valentino is starting to show his true colors, in these last frames we can see that his figure is getting darker as Angel is slowly discovering the manipulative side of Val, the controlling and abusive nature he had been hiding from the spider since the beginning.

The push and pull continues as we see their silhouettes dancing, even if in reality this is Valentino pulling from his side of the chain to keep Angel close, to keep him with him.

After the shadows sequence, we get back to the playfulness Angel had shown when he took the chains for himself and started to tease Valentino. Only that this time, Val’s colors are darker and his touch more possessive, more aggressive. He’s groping him and even choking him while Angel sings “I made my choice and every night I’m living like there’s no tomorrow” with a grin, showing us how this was still a game for him.

He made his choice staying with Val because he loved him and he thought he was loved in return, when the moth had been only toying with him from the moment they first saw each other. This is Angel’s greatest regret, the fact that he truly believed Val’s lies, that despite all the warning signs he kept choosing him over and over again.

Choosing to stay, to kneel before Val, to obey him with the promise of a new wave of pleasure, a new high. Just as Valentino wanted him to do as we can see the vicious smile he wears during this entire sequence.

I think the next couple of seconds tells us how, for a while, they were together and Angel was still able to keep his job at the club. He was still allowed to see his friends (his coworkers most likely) and spend time with them, while Valentino made sure to feed all his previous bad habits and addictions, giving him gifts (we know Fat Nuggets was a gift from Val), a lot of money he could spend on a whim and eventually, probably the substances to use as well.

The smile on his face, the smugness of it, makes me think he’s telling his friends about this rich guy that pampers him in every way and treats him like a prince. He has found the ultimate Sugar Daddy, a man that has changed his life forever in the best way possible. Now he can have whatever he wants, party for days without having to worry about not having enough money to eat at the end of the month or a place to stay.

Angel would have used drugs before, maybe occasionally, maybe only at parties, maybe to get the worst bits of his job done, maybe he was already a bit of an addict, but it’s now, when he has the means to consume every night that he definitely becomes one.

Valentino made sure of it.

During this time, Valentino would secure the control he had over Angel, weakening his mind and will by worsening his addiction problem while continuing convincing him of how much he loved him. The parties were incredible, the sex was amazing, and Angel felt on top of the world at every moment. He was “living like there’s no tomorrow” without realizing the higher he raised above the ground, the hardest would be his fall.

And maybe this is just me over analyzing a kinky moment, but after this, after Valentino bites Angel causing him a wince of pain and maybe even making him bleed, everything changes.

They are having sex, far from the flashing lights, they are together as Anthony and Val, as the real person who oftenly hides behind his stage persona. The person who is deeply in love with Valentino, who is vulnerable and allows his lover to hurt him however he wants because he trusts that the pleasure that follows will be worth it.

But after that bite, he’s no longer in bed with Val, he's in the same bed from the very beginning of this music video, surrounded by lights, disoriented and confused… As if he was expecting Valentino to be between his legs and not this stranger.

When he finally comes to his senses and sits, we hear for the first time the line “My story’s gonna end with me dead from your poison”. This was the beginning of the end of their honeymoon phase and the point of no return. Valentino had considered Angel weakened enough to take a step further, and a new part of him is finally uncovered when he carefully introduces Angel to the porn industry. He would do so (probably) while Angel was too intoxicated and definitely too blindly in love to know what he was doing.

Valentino becomes this overwhelming shadow that covers Angel’s body, a silhouette he can’t escape from, and when we are shown what Angel sees, we can no longer see the color of Valentino’s clothes. His colorful persona, his facade of playful lover it’s no longer in place, he has stopped pretending and acting as the good boyfriend the spider had always wanted. Now before Angel there’s only the demon that owns thousands of souls, a vicious drooling smile and sharp red eyes. An overlord to fear and be intimidated by.

The background is filled with filming equipment, and even if Valentino’s body language is meant to appear welcoming, Angel feels terrified. This is not the Valentino he knew, and now he is completely trapped. He can’t refuse now, this is a choice he is being forced to make even if his soul still technically belongs to him.

After being pressured, Angel becomes part of this industry, and although he doesn’t really like it, he still trusts Valentino enough to not run away. The overlord can be scary, but he still believes that he’s safe with him, that if Val is by his side nothing wrong could ever happen to him. And after all, he had done sex work before, right? What difference did it make to fuck strangers for money in front of a camera now?

He’s not comfortable, and every day that intimidating side of Valentino that wasn’t really there before grows darker, fiercer and scarier. Angel had seen the ugliness of Valentino before, as a man, as a possessive boyfriend, as a controlling partner, but never as the powerful demon he truly was. So he still obeys Val and features in a few movies of his choice.

We can see these doubts, Angel’s discomfort and even a bit of his trust in Valentino at the beginning of the next sequence, when they appear on the set of a different movie.

Angel was a performer, he had faked his own pleasure before, he could do it again now, and he could do it while earning way more money. He could do so, because he knew Valentino was there, guiding him, helping him, making sure his lover was safe. He always thought that Val was looking out for him, making sure he was getting the right roles in the right movies, the right contracts, and when he was nervous, Valentino was right by his side to comfort him.

But Valentino had never cared about Angel’s safety. And once Angel started to voice his doubts or show his discomfort, he made sure he couldn’t do it for much longer. The comfort Angel sought for was quickly replaced by something chemical, something that eased his nerves but also left him dazed and disoriented.

It was then that Valentino drugged him, tricked him and made him sign the contract that would leave him with only half a soul inside his chest.

Valentino had fed Angel’s addiction for a long time, adding to the mix not only the illusion of a love story, but also his own drug, his sex pollen, something that numbed the spider’s mind enough to go through all the things Valentino wanted him to do in front of the camera. Oftenly Angel was left too intoxicated to respond, too vulnerable and weak. In his last moments of lucidity he always could see Valentino, his lover, the man he thought would always take care of him, turning his back to him and leave him.

Valentino is the last thing he sees before everything fades to black around him, before he disappears. He’s no longer Anthony or Angel Dust, the stage persona, now the lines between those two different identities blurry beyond repair, and the person he becomes is a little more Angel Dust and a lot less Anthony.

I don’t think that it was just a coincidence that they used a BDSM scene to represent the moment Angel definitely lost control of his actions, his body and most likely also his soul. BDSM is all about power dynamics and the control that’s exchanged between consenting partners, only that, in this case, Angel didn’t really have a choice and there was no consent. This lack of control and safety is emphasized precisely by the type of session Angel is forced into.

He’s restrained in every way possible, he’s tied up, a blindfold covers his eyes and a gag is forced onto his mouth, one that would prevent him from closing it no matter how much he tried. He has no way to end the scene, no way to say a safeword, to complain or to stop what other people do with him or to him.

This is meant to represent the moment he signed the contract, and how he felt every time he entered the set of a new movie after he signed it. He stopped being his own person, he had disappeared, and what had been left of him was nothing but a sex toy for Valentino to control in each of his productions.

Now we see the Angel Dust that survived this state of numbness and dissociation, the one that has consumed Anthony just so he could keep himself alive.

While Angel Dust dances, seemingly enjoying the show, performing as he has always done, in the background screens we see what’s left of Anthony, of the boy feeling trapped and used with no single way out of it. This is accompanied by more fragments of that BDSM scene that changed it all, since that was a traumatic event that repeats itself in Angel’s mind every time Valentino forces him into a new role, a new movie, a new lie.

These frames show us not only the stress Angel is feeling, but also how Valentino is always there to exploit his body in the way he deems more profitable. We know this because he appears in between Angel’s anguish, but also because the same eyes that covered his dressing room walls are in the background while someone fucks Angel from behind.

While this happens we hear again “I made my choice”, a reminder of Angel’s regrets, shame and guilt. In addition the line “Every night I’m living like there’s no tomorrow” now has slightly changed, indicating the shift in Angel’s life and condition as no longer a free soul. What we hear now is  “Every night I’m wasted like there’s no tomorrow”.

Where once he was happy, he’s now desperate, begging to get a way out.

We see a bit more of the playful performer, Angel Dust, and the pain of Anthony in the background before Valentino approaches him again like a great imposing figure, putting an end to his show.

The second Angel notices Valentino, distress becomes clear all over his face. He points to the left, outside of what we can see, and when he tries to escape, Valentino grabs him and pulls him closer.

He has finally come face to face with the real Valentino in all his twisted glory and he wants to run away. He knows now that what they had wasn’t love, it had never been, and it’s painful. But he’s afraid of Valentino, he can’t do anything to escape his contract and he now belongs to him (at least while they’re on set).

That last frame with Valentino embracing him, a vicious smile on his face in contrast with Angel’s terrified expression puts an end to their story, to the narration of how they came to be what they are now. After that, we are presented to the aftermath, the Angel that’s no longer intoxicated by his poison and can only dread the many past choices he would like to change.

He is now fully aware that there’s no way out of his hell, that for as long as he is alive he will be Valentino’s toy. He’s destroyed in every way, his mind is a mess too dependent on the drugs Valentino has been feeding him to properly think, and his body has stopped to feel as his own a long time ago.

How could he consider that pile of bones, fur and chemically loosen up muscles as his own? He’s disgusted, drowning in this feeling of helplessness.

And he’s even more grossed out when he notices the remains of Valentino’s poison, his drug, still lingering on his tongue. He’s so lost, he doesn’t even recognize himself. This is not where he was supposed to be, he shouldn’t be in Valentino’s apartment, he doesn’t want to be there anymore.

The substance that once had brought him so much joy, such a delicious bliss, now slips past his lips burning his skin like acid. The itch reminds him of the reason why he’s there, and he can only feel pain. The only cause for most of his problems had always been his addiction. To Val, the sex they had, his poison, the drugs he bought for him…

No matter how hard he tries to get used to this life he has with Val now, he simply can’t do it. It doesn’t matter how many movies he appears in, they are never enough, they will never be enough for the overlord. Because he’s nothing but a tool to make Valentino and the other Vs even richer and more powerful.

That’s Valentino’s business and what initially made him get close to Vox. They complimented each other and together they felt capable of ruling Hell like that was their birthright. A power Angel would never get to know firsthand, because for Valentino he was nothing but another whore to use, exploit and eventually discard.

Angel is sick of it, is tired of living a life he hates, a lonely life full of pain and abuse, all caused by the person he loved the most.

He has spent years trapped in the V Tower, watched by the countless cameras placed in every wall and every corner of his prison. Even when he’s not on set, controlled by Valentino and his team, he feels Vox lenses following all of his movements, and despite the luxury he lives in, every day he goes to sleep wishing to never wake up.

That's all, folks. I hope you liked it, or at least got as sad as I felt while analyzing this. Again this is all what I could understand from that segment of the episode I don't know if y'all already knew this but I did wanted to share it. If you liked this check my bird app account bc there is where I spend most of my online time or my Ao3 profile, although I post mostly Skfs content now <3