#so it was even worse than i thought!

[lucabyte]

monologue

[conscydraws]

My first 15 hours in Death Stranding

[suosage]

SHIDOU RYUUSEI & ITOSHI SAE | Japan U-20 National Team #13 & #10

NOW WE'LL BE ABLE TO LEARN THE REASON HE WAS SELECTED WHEN NOBODY IN BLUE LOCK KNEW HOW TO HANDLE HIM. WHAT KIND OF EGOTIST IS ITOSHI SAE AFTER?

[turtleblogatlast]

No but like every time I think about Splinter and what he had to go through just to keep the boys alive, my heart hurts for him so badly. Is he perfect? No not at all, but none of them are and by god does he love his sons.

The fact that all of them are alive, and grew to thrive despite the circumstances surrounding them is a testament of how much Splinter loves his boys. He raised four babies following the most traumatic time of his life, all alone with nothing but the sewers to house them (to hide them.) I feel like he’s not given the credit he deserves for all he’s done.

And I get that it’s easy to hold up his flaws and faults when it comes to parenting, I myself like looking into them because flawed characters are super interesting and said flaws make them more realistic and engaging, but he tries, and again, so many others would have given up on the boys or failed along the way but Splinter didn’t.

He’s their father, for all his faults he did his damndest to make sure they survived.

[linka-from-captain-planet]

que viva baby - hurt me, I’m yours tonight

Briala x Empress Celene

[beaulesbian]

I was once again thinking about this goofy Luffy moment after his Lucci punch™ and i had to see it frame by frame.

first the force of it throws them both away, and while Lucci is seen on screen tumbling for a long moment, Luffy is just away in a blink of an eye.

and then his funny scene - his legs are like jelly that he tries to get under control,

he stumbles, falls, rolls into a mix of all his limbs and eyes,

and then only the cloud behind him cushions his fall

- which would be interesting if he can subconsciously control that while he tries to regain the control over his movements - that the environment around him still adapts to his awakened Devil Fruit abilities and morphs to help him. Where others would probably fall through that cloud, for Luffy that cloud backs him up like a trampoline.

It's just fascinating!

[therubyfox]

Guys. Guys. Please. Not every adaptation has to be live action, not every adaption can be live-action, because making it so can rob the original IP of its very essence. If making everything look realistic diminishes it to the point where you literally have to animate it anyway to make it recognisable, then why even try to make it live action in the first place? What is so bad about animation that we have to make things live action because it’s otherwise “just for kids”? Why are we ignoring a perfectly good medium only to force a different medium to do what the former was designed to do only much worse?

Some things can only be done by animation, in the same way that some things can only be done by books or musicals or games. That’s what makes adapting things so difficult, and it’s what makes choosing the medium you want to write in so important.

[noirve]

i will say the way they made armand fully to blame here was a little lazy to me like i think they could have gone for a more layered approach and this is NOT because i do not like seeing armand be evil bc i love evil armand. but i also love nuance

[butchcarmy]

Blood Orange (Ch 1: The Walk-In)

Carmy Berzatto x Reader (R18)

Rating: E (7.3k words)

links: fic playlist, pinterest board, ao3 link, ch 2

Summary: Losing your job is the worst thing to ever happen to you. Getting hired by Carmen Berzatto is a close second. You tell yourself that The Beef is only temporary, that it's just a replacement until you find something better. It doesn't work. You've stopped listening. You've had a taste of Carmy, and now you don't think you're ever gonna be able to let go. No matter how bad it gets. 

Content Tags: secret workplace relationship/sex, friends/coworkers with benefits, they/them afab reader, miscommunication, mental illness (carmy and reader), dom/sub dynamics, dom carmy (for now), enemies to friends to lovers (eventually), unhealthy coping mechanisms, dysfunctional relationship

A/N: It's finally here! New series! We even get sex in the first chapter! In my other fic, I'm taking care of Carmy. In this one, I'm making him worse. Of course, here's a disclaimer that I DON’T condone or intend to glorify any of this behavior. It's just compelling to write. Enjoy!

You return to The Beef for the first time in years when you're at your lowest.

The only upside to this abysmal situation is that the job was shitty. The job you just got laid off from, to be exact. Retail was never your passion, and there's a certain relief in knowing you don't have to go back to that windowless place. You didn't play an important role in the ecosystem, but it played a pretty crucial role in yours. It kept a roof over your head.

You're sure you could’ve sued them in some fashion for letting you go without any warning, any parachute, but you didn't have the luxury of time. You needed to figure out how you were going to pay rent, and fast.

After the rage boiled over (not to say that it's resolved, the residual anger's leveled into an even simmer), you pulled your hair back, found your cleanest, nicest outfit, and started your job search. With your updated resume in hand and scuffed sneakers on your feet, you've trekked all over Chicago looking for a new job. You weren't optimistic, nor were you hopeful. 

You suppose the only word you could use to describe yourself was desperate, and it was a matter of finding someone that was just as desperate, if not more desperate than you. To put it politely, the odds of that were low. Very low. 

You got laid off that very morning. The rest of your afternoon has been spent walking from door to door to every establishment you could spot. By some cruel twist of fate, none of them were hiring. The ones that were hiring looked unenthusiastic, even adverse to taking your resume. 

“When would you be able to start?” Some of the workers asked. 

“Tomorrow,” was your desperately honest answer. 

“If all goes well, you'll hear from us in a week,” was their response. The unspoken was, of course, the fact that radio silence was more likely than an email or phone call. Places didn't even send rejection letters anymore. 

“Thanks for your time,” you'd say, bringing out a bright smile from a complete lack of reserves, and as soon as you turned around, your face would drop. 

Your hopes were low, nearly non-existent, but damn. Damn. It wasn't looking good for you.

That's why you enter The Beef. You vaguely remember visiting this place a couple years ago, back when you first moved to Chicago. The owner was…pretty nice, actually. You don't remember his name, but you remember having a pleasant conversation with him. Of course, there's nothing you can do if he doesn't have a job opening, but it wouldn't be bad to see a friendly face. Even if that face is from someone who's basically a stranger. 

The doorbell rings when you enter. It catches the attention of the man standing behind the counter, and with how his head jolts up, you'd think the bell functioned as an alarm instead. 

“Welcome,” he says. Your first impression, other than the fact that he seems very, very, tired, is that he's irritatingly attractive. If anything, the eyebags and the greased back waves only add to whatever the hell he's got going on. 

“Hi. Um…” You're briefly caught off guard by his biceps, but you catch yourself. “I was actually wondering if you guys were hiring.”

“We are,” he replies, and it's the best thing you've heard all day. He lights up like the spark of a lighter, bright and instantaneous. It doesn't shake the pervasive exhaustion that radiates off him, though. 

“Thank god,” you mutter, and you want to take it back (it's far too casual), but he cracks an amused smile that makes you want to dissolve like a pinch of salt in a sea of sauce. “Sorry. Do you mind if I talk to the owner? We met a while ago, and—”

“I'm the owner,” he interrupts, and any other words you had planned fall away.

“Sorry?” You repeat. “I swear it was this guy—he had short dark hair, I think—”

“Yeah, he left the place to me. Didn't want it anymore, so.” He shrugs. The light you just saw from him has fizzled away like the end of a sparkler, short-lived and ultimately disappointing. 

“Oh. Got it. Uh…” To your credit, you don't fumble for too long. You have a lot of questions, but you've got more pressing issues. You pluck out a resume from a file folder. “Here's my resume, then.”

He takes it from you, flips it to face him. He's quiet as his eyes lower down the page, and you wonder if it's going to be a guillotine or a pot of gold at the end of this. The only sounds in the entrance are the passing cars outside, the rickety air conditioning, and muffled chatter from the back. 

“You worked as a prep cook.” He says it like a fact, but you know it's a question. 

“Yeah, nothing fancy. Just at some chain restaurants.”

“Right. I see you worked as a line cook at another location. Which one did you prefer?”

“Uh…” They both came with their separate pains. Your honest answer is that being a line cook was one of the most stressful experiences of your life, but if he has a position open as a line cook, you don't want to fuck it up. “They were both fine. I think I was a little better as a prep cook, but I didn't mind either.”

He hums, satisfied by your answer. At least it’s only half of a lie.                                                                                                                    

“How do you work under pressure?”

“Good,” you answer quickly. “Well enough.”

“Willing to learn?”

“Obviously. I mean…” You think you see a flash of a smile, but you're unsure. “Yeah.”

“When'd you be able to start?” You're surprised he's already asking this.

“Tomorrow,” you say, just like you’ve been, and his reaction is different from the others. He nods. He doesn't smile, not like he did earlier, but you can tell this is a good sign. 

Before he can get a word out, there's a sharp, metallic explosion of noises that resounds from the direction of the kitchen. 

“Uh,” he starts, eyebrows pinched in irritation, the voices come in. 

“I told you, you have to say behind!” A woman's voice. She sounds young, but there's no real way to be sure of that.

“How the hell did you not hear me coming?” A Chicago accent, male. Older, maybe. “I was in the middle of having a conversation with Tina—”

“Great, I'm so happy for you, I don't give a shit, now this has all went to waste—”

“Well, who's fault is that?”

“Who's fault is that? You did not just—”

“Guys!” The man you've been talking to gives you an apologetic glance before walking to the back, pushing through the folding doors. You catch a glimpse of the two people arguing on the other side before it shuts. “I'm tryin’ to talk to a new hire here. We can't be like this right now. Not ever, but especially right now.”

Finally, the first sane person I've met all day, you think. 

“Carmy, talk some sense into her,” the older guy shouts, and it gives you a name to the face. “All of this on the floor—”

“You didn't say behind,” the woman repeats, except with more fury in it this time.

“You didn't say behind,” he imitates back. “Carmy—”

“She’s right. Richie, step out,” Carmy says. “Syd, you clean this up.”

“But—” You hear her start to protest. 

“You spilled it, you clean it,” he cuts through, decisive and firm.

“I know, but Richie—”

“Clean it,” he repeats, firmer, darker this time, and there's a beat of silence. 

“...Yes, chef.”

“I told you to step out,” Carmy tells who you assume is Richie. 

“You're just gonna let her—”

“Step the fuck outside right fucking now!” Carmy screams, his patience shooting away like a gunshot. You feel something shrivel inside you, and not in a good way. “Do the one fucking thing you're good at and get out of the fucking way!”

Yeah…definitely not in a good way.

From what you hear, it sounds like Richie has to get wrestled outside by someone, whom you're not sure. After another minute, Carmy returns to the front. 

“I'm sorry about that. Fucking—” He drags a hand across his face. You swear his eyebags have grown heavier in the 5 minutes he was in the kitchen. “What was I saying?”

“Um, I was saying that I could start tomorrow,” you remind him, although the vigor you had just stated it with is a bit fizzled out. 

“Right. Okay. Uh—” He pats his hands on his apron, searching for something. A pen and paper appear in his hands, and he scribbles something on it. This is when you notice his tattoos. A flower on the back of his hand. Surprising. “You're hired. Here's the paperwork you need to fill out, along with the number and email you'll be hearing from me at.”

“What?” You take the sheets, but the smooth paper doesn't feel real in your hands. His handwriting is hasty and dark, like he was running out of time on a test. “I mean, I'm just surprised.”

“Do you not want it?”

“I want it,” you promise, and you feel your cheeks flush. This is a bad time to yet again notice how attractive he is. His pretty eyes, his nose. The little moles under his left eye. “Y-Yeah, I want the job.”

“Good.” He motions towards the sticky note again. “Come in at 8 am tomorrow. You'll be starting as a prep cook, which you've done before.”

“Okay. Okay, yeah, I'll be there.” The reality is setting in now, and an odd cocktail of relief, apprehension, and excitement is settling in your stomach. “Thank you so much.” I just got laid off from my job this morning, so this means a lot, you want to say, but it's too soon. You don't want to say anything that'll make him change his mind about whatever he sees in you. 

“Thank you,” he echoes back. “We need the help. I'll see you tomorrow.”

“See you,” you reply, and with that, the door rings behind you. A customer comes up to the counter, peering up at the menu. You figure this is your cue to leave. He's not looking at you anymore anyway. 

So, I got a job now, you update your friends, texting them on your way home on the metro. As the relieved congratulations come flying in, another remark seems to resound amongst all of them. 

I can't believe you got the job just like that. That place must be desperate, too, is roughly what they've all said. The thing is, they're not wrong. 

You managed to find someone more desperate than you in the job economy. Just one, but that was enough. It makes you think, though. You think about Carmy's weary blue eyes, his brief smile, and his hand tattoos. You wonder if it's just the restaurant that gives him that bone-deep exhaustion, or if it's a smaller part of a bigger picture. 

You think about it for the rest of your commute, you think about it as you smoke on the porch, you think about it as you lay in bed. You think about it as you fill out the paperwork, fingers tracing where Carmy's written his name, number, and email.

Carmen Berzatto

773-555-0901

So Carmy's a nickname, you think. Not about what type of boss he's going to be, not about what it's going to be like working under someone you are obviously attracted to. 

Maybe you should be more worried about this.

If it's bad, I'll just find another job, you tell yourself, and you foolishly believe it.

. . . . .

Your first day on the job starts with introductions. 

At least, that's about as much as you've figured out so far. When he sees you upon arrival, he pauses and stares at you like he's forgotten. Not a great start. Granted, he does snap out of it. That's when he tells you to follow him, which is where you currently find yourself. You're not sure where he's leading to, only that he's introducing you to others as you pass them by.

“They’re working with us starting today,” Carmy tells everyone. “They’re gonna be on prep.”

Right. So that's what you'll be doing. At least he told you that much yesterday.

The catalog of coworkers expands exponentially. You remember Sydney from yesterday, and to her credit, she apologizes about having you witness her fight with Richie, who conveniently isn't here yet. She seems the nicest out of all the bunch, so you decide to let it slide. 

Marcus is pretty nice, too. So are Ebra, Sweeps, Manny, Angel—everyone seems to be pretty alright. It’s obvious they’re standoffish by you being in their space. You find it hard to hold it against them. You’re not really sure how your relationships with them are going to pan out. There are only three that you’re particularly unsure on.

The first and obvious one is Richie. He came in eventually and didn’t give you the best impression, immediately talking over everyone and oozing arrogance. The only salvageable thing is that he’s not even a chef. At least you won’t have to be in the kitchen with him much. You want to avoid the honor of talking to him as much as possible.

Tina is next. She clearly doesn’t enjoy having someone new in the ecosystem, and she’s spent more time ignoring you than talking with you. As you understand it, she’s close to the rest of the staff since they’ve all been together for a while. Minus you and Syd, as you learn she’s only been there for a week. You think Tina will warm up to you…eventually.

Carmy is the last one, and he’s…he’s…

He’s something else.

He has you doing prep for most of the day. After introducing you to everyone and giving you a brief tour, he brings you to your station, scratched up stainless steel.

“You’re going to be cutting onions and carrots today for the stock. The vegetables are in the walk-in I showed you earlier, and when it’s done, it goes on the first shelf.” Carmy’s to your right, set up at his own station. You swear you keep your eyes focused on the vegetables, not his biceps in that shirt, but… “You should already know this, but label everything. I don’t want to see anything without a date. Got it?”

“Yes, chef,” you confirm, snapping out of it. He’s been flinging new information at you like it’s a war and he’s gunning to survive. But so are you. “I’ll do my best.”

“I expect as such.” He slides over a peeler for the carrots and some plastic bins for trash. “It’s just a stock, so don’t worry about an even cut. Just salvage whatever you can, cut off anything that doesn’t look good.” You nod. “Been a year or so since you did this, right?”

“Yeah. I cook regularly, but I’ll need to get back into the groove of things. And I will,” you add hastily. “I’ll combine them into this one when I'm done, right?” You ask, nudging a large plastic container. 

“Correct.” A brief smile flashes across his face. “You're already following quicker than I thought you would.” You’re not sure if he means it as an insult or a compliment, so you decide to take it as the latter. 

“I haven't even chopped anything yet.”

“I know.” His expression is flat again. You resist a laugh.  He plucks an onion from the bin, puts it in front of you. “Show me a rough dice.”

The knife is sharp. You notice this as you place careful cuts into the onion. It's not quite as sharp as his unnerving gaze, which layers pressure upon pressure. It builds up like a pastry puff, thin multitudes of layers expanding upward. You need to be good. You need to be perfect. You don't want to disappoint him, not this early, even though you've barely been here for an hour. 

It's just a shitty old sandwich shop, you tell yourself, but your dicing is uneven and you briefly think about accidentally chopping your fingers off. 

“Not my best work,” you admit, vaguely breathless. Carmy hasn't said anything yet.

“It'll do.” You're waiting for him to say something else, give you some tips, but he doesn't. Irritation prickles to the tips of your fingers. “I'll be back to check in on you later.”

You stand there, motionless and shocked in the aftermath. You're not sure what you expected from today, but being abandoned an hour in was not at the top of your bucket list. 

Man, what the fuck, you think, the thought clear in the silence around you, and that's the last time you can hear yourself think for the rest of the shift. 

There's a prepared stock from yesterday simmering on the stove behind you. It's flanked by boiling potatoes and reducing tomato sauce. The heat from it’s searing your back like a steak, slowly drawing lines of moisture all over the surface of your shirt. Your coworkers constantly invade your space to check on them. You suppose it's not their fault that the kitchen, but it's still irritating. They're also all shouting over each other like it's a competition.

“Who the fuck touched my stock—”

“No one touched your stupid shitty stock—”

“I am trying to find this cutting board, will someone please—”

You move on from the onions with only a thin layer of sweat collected at your hairline. 

Your hands are shaky as they peel the carrots. You know you're not getting as efficient of a shave as you could be, but the caffeine crash from your morning coffee is getting to you. You don't remember the last time you drank water. A cigarette sounds nice. 

“Clean your station, chef.” Carmy materializes next to you. You hear him before you see his hands scooping carrot shavings into a plastic container. It shocks you so much that you almost cut yourself. 

“Sorry, chef,” you reply reflexively. You look down at your station, straightening your tools. You want to ask if you can take your break, but you don't want to look any weaker than you do already. “So, uh, do we get 30's here?”

When you don't get a response, your head snaps up, irritation on the tip of your tongue, but he's not even there. 

Fucking hell, you think, annoyance simmering into something akin to anger, and you go back to finishing your prep. 

You don't see him for another hour after that. It's not even him that tells you to take your 15, it's Syd, who noticed you were half-way through your shift and on the verge of…something. 

“You finished the prep he gave you, right?” Syd had asked. You told her you finished and put it back in the walk-in. “Yeah, then go take your break. Did he not tell you we get 15's here?”

“He didn't,” you say, too annoyed to bother hiding the disdain in your face. Sydney just sighs, rolling her eyes, and you think you love her. 

“Asshole.” She makes a shooing motion at you then. “Go, get a break from this madness. It'll get better, I promise.”

You're not sure if you believe her, but you do step outside to take your break. 

As you stand outside in the back, you take note of tightness in your body that you weren't even aware of. The cigarette smoke calms you, loosens you. Or maybe you owe that to getting out of that hot kitchen. 

This time, you see Carmy before you hear him. You turn to the door to see him stepping out, a pack of smokes in his hand. 

“Hey,” he says. 

“Hey,” you reply.

“Everythin’ goin’ okay so far?”

“Yeah. It's fine.” Other than everything.

“Really?” His surprise just pisses you off further. “Well, that's good.”

“...Yeah.” You decide if your mouth stays unoccupied, you'll start cussing him out, so you put your cigarette back in your mouth. 

“You're bleeding.”

“What?”

“I said, you're bleeding. Your hand.” 

You look down at your hand holding the cigarette, and sure enough, there's a thin, shallow cut oozing blood near one of your knuckles. 

“Shit,” you mutter, quickly sucking the skin into your mouth. When you pull it back, the red refills. “I didn't even notice.”

“Let's get a bandaid on that.” He puts his unlit cigarette back into his pack. “I have some in my office.”

That's how you end up in the enclosed, dark space of his office, seated on the only chair as he leans back against his cluttered desk. The dingy first-aid kit is propped on top of a shaky stack of papers. Carmy takes out a bandaid from it and peels it open.

“Thought I gave you a sharp knife, it shouldn't have cut you like that,” Carmy comments. 

“It was sharp,” you correct. “Guess I just fucked up.”

“It happens,” he says, which surprises you. He keeps surprising you. You just can't seem to figure him out. “Let me see the cut.”

You only realize that he's putting the bandaid on you when he cradles your hand in his. His hands are warm. 

He has so many hand tattoos. You notice the letters on his fingers first, the SOU curled around your palm. You notice the other tattoo on the back of his hand next, since that's the one carefully placing the bandaid on you. 

He wraps it around your finger just right. Not too tight, not too loose. 

“Is that too tight?” He asks, almost in a whisper. He's so close, and he smells like kitchen oil, cigarette smoke, and a faded cologne you can't place. 

“No, it's okay.” You don't mean to talk so quietly back, but you do. You can't stop staring at his fingers. They're long and marked up with silver scars and burns. If you look carefully, you can place the locations of his callouses. 

“Good.” You don’t know why he does it, but he runs his thumb across the seams of where your bandaid overlaps. Surely it’s just to secure it further…surely.

“Thank you.” He’s still holding your hand. You’re unsure if you’re imagining the tension in the air or not. Everything feels more intimate behind closed doors, especially in low light. “I could’ve done it myself.”

“It’s easier if another person does it.” He lets go, finally, and you try not to mourn the loss. “Did you finish prepping for the stock?”

“What you gave me, yeah.”

“Alright. Let’s go take a look at it, then,” he says, like that isn’t the most anxiety inducing thing you’ve ever heard. 

“R-Right now?”

“As opposed to?” He opens the door to his office, and the muffled noises in the kitchen become sharp and clear again, like emerging from underwater. “Come on.”

You don’t know how it happens, but Carmy gets into five separate arguments on the way to the walk-in. FIVE. To be fair, two of them are from Richie.

“I’ve been telling you guys to sharpen your knives, don’t fucking treat them like this,” Carmy shouts, trudging over to someone’s station. “You see this? This is exactly what we should not be doing! How many times have I said this today?! Don’t—“

“Stop going into my office when I’m not there,” Carmy hisses at Richie next. “You keep fucking up where the papers are put, and I can’t find anything! It’s enough of a mess as it is! No—I said—cousin, listen to me—“

“Everyone shut the hell up, clean your stations, and get the fuck back to work!” Is the last thing he shouts before slamming the door to the walk-in behind you. He slams it so hard the wire racks rattle. You decide not to comment. 

The difference in sound is eerie. You’re always surprised by how sound proof these walk-in fridges are.

“Is this the prep you did today?” Carmy asks, touching one of the clear plastic bins. Sure enough, it’s the one you placed there a moment ago.

“Yeah, it is.” You chew the inside of your cheek. You were hoping he would be in an okay mood when he checked your work. It seemed like he was at first, but now?

“It's on the wrong shelf.”

“What?” You stare at it sitting on the first shelf, just like he told you to. “You told me to put it on the first shelf.”

“It goes on the second shelf.” He's pissed, and there's ice in your veins. He huffs as he takes the container and moves it one shelf up, slamming it down unnecessarily. “I told you—second shelf.”

“You literally said it went on the first shelf.” The ice has melted, and it's boiling. 

“No, I didn't.” You wanna punch him. Badly. You know what you heard. “And you forgot to label it.”

“Shit.” That, you did forget. You’re not above owning up to your mistakes, unlike him. “I'm sorry, I was—”

“We always need stuff like this to be labeled,” he interrupts, rude and abrupt. You can hear the thinly veiled anger in his voice. “I told you.”

“I know, I just—“

“Don’t make excuses. Just do better.”

“It’s my first fucking day!” You snap, finally, and it’s like a firecracker in the dead of night. “I don’t expect to be coddled, but I’ve only been here for a couple hours, and you’re just—“

“I told you to put a label on it, to put it on the second shelf, and you didn’t do either of those things.” This is a different type of anger. It’s quiet, contained. Dangerous. And with your outburst, it’s trembling at the edges. 

“You literally hired me yesterday!” You’re exasperated. “You looked at my resume for like two seconds before hiring me, and you’re mad that I’m messing up?”

“You had enough credentials on your resume. You told me you could work well under pressure and learn quickly. Is that true or not?”

“It is true! You just have to give me a chance first!”

“I just gave you a chance,” Carmy snaps back, “and you fucked it up.”

“Oh my god. I just—“ You take a step back. “I don’t have to take this shit.”

“Are you quitting already?”

“I wasn’t going to.” You move towards the door. “But maybe I should, before you fire me. Doesn't seem like you want me, anyway.”

You were planning on exiting the walk-in after that, to leave on cue, but the door doesn’t budge. You and Carmy notice it at the same time. 

Suddenly, there is a new problem.

“Fuck,” Carmy curses under his breath. The two of you are pushing against the door, but it won’t budge. He slams his fist on it and calls out. “Guys, the walk-in door is stuck! Can any of you open it from out there?”

“Carmen?” Richie's voice is muffled from the other end. There's the sound of frustrated efforts on the other end. “It's not fuckin’ budging!”

“Fuck,” Carmy repeats, seething, and you agree. “Call Fak!”

“I already did! He’s gonna be here in 20!”

“20 minutes?!” Carmy shouts. You close your eyes and sigh, audibly. “Don't we have a screwdriver in here or something?! Just take the hinges off!”

“Why do you think I called Fak?! Shut the hell up and be patient!”

“Tell him to hurry the fuck up,” Carmy barks, and that's where their conversation ends. 

“Just what I needed right now,” you mutter under your breath. Carmy's not looking at you, eyes boring into the door that's trapping the both of you in here with each other. “To be locked in a room with you.”

It's quiet for a minute before he speaks, cutting the silence open.

“...I do want you, y'know.”

“You—huh?” He said it so quietly you're not sure if it was a hallucination. 

“We need you here.” He's still not looking at you. “This place—it's fucked.  We don't have enough hands.”

“I can tell,” you say, and you mean for it to come out bitter, but it's soft. Naively so. 

“I want you here. I do.” He doesn't need to say it like that. You don't want to believe it, neither his words or the way hearing it makes you feel. “I need you.”

“Can you at least look at me when you say it?” 

You’re not sure why you say it. You instantly recognize it for how needy it sounds, but you don't get the luxury of embarrassment. Carmy's already turning to face you. 

“I want you,” he repeats, voice low. You think about the paint you'd need to mix to match the color of his eyes. Blue, white, and the slightest bit of orange to desaturate it. You're not sure what type of orange, though. “I need you.”

“Fuck,” you mutter, despite yourself, and it's too late.

“Are you gonna do better?” You didn't even register him moving closer to you. When did your back end up against the shelves?

“I’m gonna do better,” you whisper, “if you stop being such an asshole.”

“It won't happen again,” he whispers back, and you recognize it for the lie that it is. 

You don't really care, though. 

His face is so close to yours that you can see the separate specks of colors in his iris. You watch his gaze fall from your eyes to your lips, and it lingers there before rising again. Any shreds of self respect or control you were clinging onto disintegrate. It doesn't matter if he really means what it says. All that matters is getting your mouth on his.  

“Okay,” you say, a whisper of foolish acceptance, and you're kissing him. 

Or is he kissing you? You don't know who leaned forward first. It's not important. 

“I saw you staring at my hands today,” Carmy says against your lips. Spit makes your mouths slide easily against each other. “Yesterday, too.”

“What the—no you didn't,” you gasp, appalled, heat rising in your face, “how did you—?”

“You're right. I didn't,” he admits with a cheeky grin. You’re really gonna punch him now. 

“God, you're just,” you mutter, “you're such an asshole.”

“I know.” At first, you think he's being smug, but there's a surprising sense of remorse under it. You don't have time to think about it, though, not when his hand is cradling your face. There's no way he doesn't feel how hot your face is. 

“What're you…?” His thumb passes over your lower lip, and the words fall away. 

“Tell me you want this.” Your eyes flicker to his hand, then to his face. His other hand is at the top of your jeans, fingers resting on the edge of your waistband. Excited arousal hits your gut, sizzling like browning butter, warm and toasted. His eyes are dark, caramel on the verge of burning. “If you don't, I'll pretend like this never happened. I'll never touch you again.”

I'll never touch you again, he says, like it's not the last thing you'll ever want. 

“I want this,” you murmur. “Touch me. Please.”

“Good,” Carmy praises, one quiet word enough to sear your insides with heat, blue flame on the underside of a pan. “That's what I thought.”

His hands slip behind you to untie your apron. The strings fall to your sides, and you tug it hastily up and over your head. It falls to the floor next to you. Surely that's a gigantic health hazard, but Carmy's the one who throws it there, so you don't say anything. You lower your gaze to his fingers unbuttoning your pants. The sight of it makes you woozy. You take note of his other tattoos, noticing the letters on his fingers. You watch as the stabbed hand made of ink on his right disappears under the cloth of your underwear.

“Oh,” you breathe. You didn't expect his hand to be so warm, even though you had just felt his heated palm gentle on your cheek.

“You're wet.” The tip of his index finger dips into where your hot folds separate. It strokes at the fluid that's pooled at your entrance, coaxing it out. “When did this happen?”

“Fuck you is when,” you bite back, but it's all bark. “I don't know.”

“Sure,” he agrees, but not really. His condescending smile shouldn't be hot, it really shouldn't, but your pussy throbs against his hand, and he smiles knowingly. “All you need is me to talk and you get wet, is that it?”

“I—” His finger rises upward, splitting you open and flicking at your clit. You buck against his hand. “Don't ask me a question and then touch me like that,” you hiss, horribly turned on.

“Mm, sorry.” It's barely an apology. You throw your head back in frustration. “I didn't mean to.”

“I have a hard time believing that,” you pant. He's pushed your slick up your pussy to your clit, two slick fingers sliding back and forth on your stiff nub. The pads of his calloused fingers are rubbing you almost where you're too sensitive. 

“Then don't. I don't care what you think of me.” You think he's about to get his fingers inside of you, and your breath hitches, but he pulls back. You regret the frustrated whine that is just audible enough in the back of your throat. He does it again, just barely pushing the tips of fingers in before pulling away.

“You—why—do you want me to beg or something?” Your clenched hands raise by your sides to grip the collar of his white shirt and yank him forward. The shock that flashes across his face gives you a sick sense of satisfaction.

“It wouldn't hurt,” he mumbles. Seeing him stagger like this, even if briefly, sends a rush through your head.

“Is that what it's gonna take for you to get those fucking fingers inside me?” 

Like a coward, instead of answering, he leans an inch forward and kisses you. Or maybe that was his answer. That's when he sinks two fingers inside you, long and thick, pushing until your wet pussy's pressed tight against his palm. 

You moan, a pathetic thing, and Carmy swallows the sound of it.

“You're already begging,” he says quietly. He pulls his fingers out. You whine in protest, desperate and angry pleas on the tip of your tongue, but then he's pushing inside again.

That's the last moment of reprieve you get. His fingers start thrusting into you faster, dragging out slick each time he pulls them out. Paranoia suddenly screams that you’re gonna wet the front of your pants at this rate. The aching pleasure is louder than your fear, though. You can’t help the way his fingers are making you moan.

“More,” you plead, “give me another, I can take it.” Your hips are thrusting forward to meet his hand when they push inside. Your clit slaps against the heel of his palm, and you chase the friction. He must notice, because when he obliges and stretches you out with a third finger, he grinds the heel of his palm into your clit.

“You have to be quiet,” he says lowly when you keep moaning. “They’re gonna hear you.” 

“I—I’m trying,” you whine. You’re squeezing so tight down on him. You feel so full. “Your fingers—“

“You’re the one who asked for more.” He slaps his other hands firmly over your mouth. It silences your sound of surprise. “You said you could take it, so here’s what’s gonna happen.” His fingers are slamming into your now, and your hole spasms around them in pleasure. “You’re gonna come on my fingers, and you’re gonna be quiet. Understand?”

You know how soundproof the walk-in is. You had just witnessed it moments ago. But Carmy’s warnings do something fierce to you, bypassing logic straight into anxious, desperate arousal. He’s right, you think. You need to be quiet. You nod quickly in response, so he takes your consent and sprints with it.

To your credit, you try to be quiet. You said you would. But there’s only so much you can do when he’s fingering you so hard your legs are shaking. You’re whimpering into his hand, the sounds muffled.  Your own moans, his heavy breathing, and the slick sound of your pussy getting railed by his fingers—that’s what you listen to as you come.

“Fuck, you’re squeezing down tight,” Carmy hisses, and for an irrational second  you’re afraid you’re hurting him, but one look at his starved expression changes your mind. His three wide fingers are fucking you slowly through your wildly contracting orgasm. In one of his palms, you're oozing slick, and in his other palm, you're smearing with spit.

You should be thinking about how bad of an idea this all is, having sex with your boss. It’s too bad your orgasm is so potent you can’t think at all.

You lean your head back against the cold metal railings of the wire racks behind you. It’s uncomfortable, but a part of it feels good against the coiling heat that’s unraveling in your stomach. The air around you is cold, but you’re hot, far too hot. You don’t remember the last time you’ve finished this hard.

He finally pries his hand off your mouth once you've stopped clamping down on his fingers. His hand lingers at your face before wiping it on the side of his jeans. His expression has this unreadable, unnamed intensity to it, and you can't tell where that ends and where the hunger starts. Although he is looking very, very starved.

His hand that's tucked into your underwear tugs it upward as it leaves, pulling the fabric taut against your pussy. It sticks like paper mache with the glue of your orgasm, molded to your shape. You make an aroused noise that's a mixture of surprise and annoyance.

You're about to complain, something along the lines of “was that really necessary”, but then your eyes are zeroed in on the sheen of his fingers that were fucking you.

“Don't,” you start, suddenly worried he's going to wipe them on his jeans again, but you don't get to finish. He's pushing his index finger into your mouth, and you taste yourself on his skin.

“Good,” Carmy whispers when he feels your tongue wrapping around him. Fuck, hearing him say it like that does awful things to you.

You don't know why you accept it without a fight, but if you're being honest with yourself, this is exactly what you wanted. You start to suck, but he doesn't linger. When he pulls his finger out, your parted lips expect the other two, but he sucks them into his mouth instead. 

God. What do you even say to that? He even has the nerve to look you in the eyes as he pops his cleaned fingers out of his mouth. 

“Let me touch you,” you decide to say instead, because if you think about him and his fingers in—anyway. 

“It's fine. I don't need it.” He's oddly cagey all of a sudden. 

“Let me return the favor, please,” you insist, even adding in some good manners. It seems to still him for a moment, giving you enough time to lift his apron.

Fuck, you think to yourself, the word resounding like an alarm inside your head. His jeans are tented so tightly it looks painful. All this from touching me, you realize. You can see the shape of his bulge under the denim. The silhouette is vague, but...

It's big.

“Carmy? You still in there?”

A voice you don't recognize calls out beyond the door. As soon as you both hear it, Carmy jerks away. You mourn the loss only for a moment before you remember yourself. You're scrambling to get your pants buttoned and your apron over your head. 

“Yeah, I'm still in here,” Carmy shouts back, instantaneously irritable. His back is turned to you, and you want to feel those muscles tensing under your palm. “About fuckin’ time!”

“You're welcome, by the way! I could've left you in here to freeze and die a tragic death!”

“It's not just me in here, Fak.” A beat of silence. “Are you opening it?”

“Am I fucking—Jesus Christ, Carmen, just give me a second! I'm working my magic!”

That shuts Carmy up. Almost. He sighs before turning to look at you. 

“Sorry for getting us stuck in here.” The apology is equally as surprising as the softness of which he speaks. “Shitty first day, huh?”

“It's cool. It's not your fault.” Other than all the shit that was completely your fault, you think, remembering the way you were shouting at each other just a moment ago. “Kinda shitty though, yeah.”

“Yeah.” He sighs again. “If you wanna leave, I don't blame you.”

“I thought I wasn't getting fired.”

“You're not,” he says quickly. “But I'm—this place is a shitshow.” You're not sure which he really means to say, but you hear both. The restaurant, and him especially, are both complete messes. That much was obvious from the beginning. “So if you wanna take off, just…” He shrugs. “Just go.”

Maybe that'd be for the best, if you left. As far as first days go, you've already broken every rule in the book. You messed up your first task, got into an argument with your boss, and then had sex with him. Nothing about this place is particularly inviting, either. This restaurant wears its dysfunction on its sleeve, unabashed in all the ways it lacks. You had left the kitchen with ringing ears from all the noise and a cut on your hand you didn't even notice. 

But here you are. You're not running. Maybe it's because of the fact that you need to pay rent. Maybe it's knowing that just one more pair of hands here could really make a difference. Maybe you're just desperate to keep food on the table. Maybe it's Carmen Berzatto, beautiful, haunted, and angry. Maybe it's all of that, a combined whole that's become greater than the sum of its parts.

Or maybe it's just that now that you've kissed him, had a taste of him, you refuse to let go. Maybe the reason is as shallow as that. 

Carmy's been waiting for you to speak, tired eyes searching your own. You're still not sure what exact colors you need to perfectly recreate the blue you're staring at. 

“Almost done!” Fak shouts. “Just one more hinge!”

“Heard,” Carmy shouts back. He hasn't taken his eyes off you. “So? What's it gonna be? Are you staying or not?”

Blood orange, you think all of a sudden. That's the orange you would need to make the perfect blue to match his eyes. Just a little bit—that's all you would need.

“I'm staying,” you tell him. “I need to pay rent, after all.”

Yeah. That's the reasoning you're settling on. Rent.

“Right. Of course.” There's a glimpse of that gentle smile you've seen flashes of today. It fades away as quickly as it came. “After this, I'm gonna have you learn how to check produce next.”

“Okay, sounds good,” you say as naturally as you can, given the tonal whiplash.

“There should be some that's about to get washed. I'll show you where that is.” The door's shifting. “But before that…” He lowers his voice, leans in close. Is he about to kiss you?

“W-What?”

“Get a new apron from my office. That one's dirty.” Beams of light stream through the entrance of the walk-in, forced wide open. “You need to keep your apron clean, chef.”

YOU WERE THE ONE WHO THREW IT ON THE GROUND, you want to scream. Just when you thought he started being nice, he does something that makes you want to grab him by the collar and shake him.

But you can't. The walk-in's open again, and you see your coworkers crowded by the door. 

“Yes, chef,” you reply, and the words taste bitter on your tongue.

~

@zorrasucia

[fistfuloflightning]

When even a Fury’s strength may wane

[thatbuddie]

los angeles wasn't built in a day

buck/eddie | rated m | chapter 1/5 | 10k (this chapter) | getting together, fake dating (in a sense)

“We’re not going to pretend to be divorced just so Chris can get into a summer camp, Buck,” Eddie says, trying to sound convincing even as he starts to feel his resolution crumbling inside of him. “Why not?” Buck asks, sounding genuinely baffled, like he can’t understand Eddie’s refusal at all. And how does Eddie begin to explain the irrationality of his rational denial? He can’t tell Buck the real reason he can’t go through with it. He can’t tell him without having to reach into his chest, clawing out his heart, setting it down at Buck’s feet still beating, and saying, “Because the only thing worse than loving you knowing I can’t have you would be having to pretend like I didn’t love you enough to keep you with me forever.” (or the fake ex husbands to fake husbands to husbands fic.)

(read on ao3)

[froschli96]

You know what, fuck it, I have to speak my truth! (this is gonna be a rant, so anyone who actually likes assassin's creed revelations and/or the secret crusade, be warned or maybe don't read this at all)

remember how altaïr talks to king richard at the end of ac1, and richard is like "[humans] come into the world kicking and screaming, violent and unstable. it is what we are. we cannot help ourselves."? and how altaïr answers "no. we are what we choose to be." and how that ACTUALLY has meaning bc he himself was "violent and unstable" at the beginning of the game but he has learned and is now CHOOSING to be a better person who cares about others and humanity at large? remember how his calmness and gentleness was something that he ACQUIRED over the course of the story?

and remember how in revelations they then suddenly had a PRE-AC1 altaïr say about the first of his targets "no man should pass from this world without knowing some kindness." and be all wise and calm and collected during a nice little chat with al mualim, who suddenly acts all fatherly? (like, this is suddenly supposed to be a positive relationship? what??)

also, during the confession the target says to altair: "you put too much faith in the hearts of men, altaïr. [...] humans are weak, base, and petty." and altaïr answers: "no. our creed is evidence to the contrary." KJASJFJDKL???? like, it’s almost insulting how close this exchange is to the one with richard. you know, the one that was actually earned after a whole game of character development. like WTF??? cool congrats now that development means nothing. like, apparently that was just altaïr reverting BACK to being the exemplary assassin who understands and believes in the creed that he was apparently just born as. (i also hate how having a young inexperienced altaïr saying this implies that altaïr's faith in humanity is a sign of naivete instead of a sign of the wisdom he has gained after being confronted with counter arguments for a whole game, and also something that distinguishes the assassins from the templars who use humanity's supposed wickedness to justify controlling them like in AC1, but whatever)

altaïr’s development in AC1 mattered BECAUSE he is not NATURALLY a good person, it actually said something about humanity's capacity for both bad AND good and how humans don't have to be forced to be good through mind control bc they can by their own free will choose to be better when taught how and when allowed the freedom to grow. but no. apparently altaïr has just always been calm, wise and gentle. and he just sort of forgot about that during AC1 bc…. ? bc of adha?? bc of abbas???

oh don’t get me started on the whole abbas thing. (it doesnt even make sense that abbas is so hung up about his father and "his family’s honor", like what about the whole point of al mualim not allowing parents to be close to their children bc it would make them weak? like, my dude, you’re not supposed to HAVE any family aside from the brotherhood)

they used the throwaway character that had like 5 lines and made him into altaïr’s main antagonist in revelations… like, abbas wasn’t supposed to be this ONE dude who had personal beef with altaïr, he was just supposed to show how while altaïr’s revered by many, a lot of his brothers also hate him, bc 1) altaïr is a shitty person at this point and 2) bc there’s no real feeling of community and family in this version of the brotherhood, but just a pervasive sense of competition and jealousy — these assassins don’t care about their goal of safeguarding humanity bc they’re too hung up on petty squabbles and divided by rivalries (you know, the things that made malik hate altaïr even before solomon’s temple and that he overcomes in the end which enables him to forgive and to reconcile with altaïr so they can work together and stop al mualim? (you ever just think about "we are one. as we share the glory of our victories, so too should we share the pain of our defeat. in this way we grow closer. we grow stronger." and cry? bc i do. all the time. malik, the man that you are))

and now abbas is altaïr’s childhood best friend turned lifelong enemy?? like, bowden bent over backwards to come up with an explanation for why altaïr is an arrogant ass at the beginning of AC1, when the explanation is right there: he was raised to kill without asking questions and was constantly praised for how good he is at murder, which resulted in him becoming arrogant and disregarding human life. like, it doesn’t have to be some shakespearean family feud type shit. and guess what, this "simple" explanation actually plays into the story’s themes, who’da thunk!

(like, abbas might not have been a "fleshed out" character in AC1, but he had a specific function and now that function is gone. mr bowden, mr mcdevitt, you know characters are allowed to simply exist to tell us something about their worlds and the systems they live in and sometimes that’s more important and also more interesting than having every single character have a detailed backstory to explain all their behaviors, right?)

with all of this revelations loses all nuance in regards to the levantine brotherhood and also the creed in general. like, altaïr being a master assassin at the beginning despite being a terrible person and not actually understanding the creed is a criticism of the brotherhood and the creed itself. like, it said something about the order that someone like altaïr was able to get that high in rank, simply bc he's good at killing, which also tells us what is considered important in the al mualim era assassin order. when you make altaïr’s arrogance the result of his personal conflicts instead of how we was raised by a brotherhood that only valued one's ability to kill, you lose that characterization of the assassin order itself!

and by suddenly making al mualim a semi good "father figure" you also downplay his manipulation of not only altaïr but all those under his care. (altaïr says something about al mualim being "as a father" to him exactly twice in the codex, but he doesn’t mean by that that he WAS a father to him, what he means is that he was the CLOSEST THING he had bc HE DID NOT HAVE PARENTS, not because his mother died in childbirth and his father was executed when he was young btw, BUT BECAUSE IT WASN’T ALLOWED, like his parents actually lived but weren’t allowed to be close to him, he says he came to view al mualim’s "weak and dishonest" love as enough and even better BECAUSE HE HAD NOTHING ELSE, BECAUSE AL MUALIM ISOLATED HIS ASSASSINS FROM THEIR FAMILIES. al mualim "loved" him bc he was good at killing people for him! hm, i wonder if this could be trying to say anything about cults and indoctrination and the inherent contradiction in fighting for peace and free will by taking children away from their parents and raising them to become killers?? like, altaïr wasn't ~the special orphan boy~ taken in by al mualim bc his father died a hero's death, it was "the way of the order" to have al mualim be the closest thing to a parental figure for everyone to ensure absolute loyalty! altaïr saying al mualim was like his father is not supposed to make you go "oh, he must have actually been a good guy for altaïr to consider him a father", it should make you go "oh that's kinda fucked up that he considers the dude who made him into a killing machine and who manipulated him a sort of father figure"!)

and then in revelations they suddenly portray that relationship as positive and healthy??? like, it would be one thing to give it some nuance by delving into the psychology behind al mualim’s "love" and maybe showing how al mualim did care about altair in a complicated, fraught sort of way (like, you know, there’s a lot of interesting things you could say about al mualim at several points addressing altaïr as "my child" in AC1 and how that parallels Garnier referring to the people he drugged and abused as his "children", and what that says about how the templars view the people who they say they want to save and in whose best interests they supposedly act (in any case, al mualim doesn’t use that phrase because he has any real parental feelings but rather to patronize and to invalidate any objections, like in a "mother knows best" way))

but they even fucking DARE to parallel that relationship with that of altaïr and darim in revelations, by having the reflection in the puddle of darim hugging altaïr showing altaïr hugging al mualim…. like their relationship wasn’t inherently abusive but just tragically cut short because al mualim was just "corrupted by the apple"… like WHAT???? so it’s not the very real problems like grooming, manipulation and indoctrination and the hierarchical structure of the brotherhood itself (all of which are antithetical to the assassin ideology), it was just the evil apple all along. great. that’s DEFINITELY a lot more interesting.

god im sorry i really dont want to spread negativity but this is driving me INSANE. like, somebody please tell me im not crazy bc i feel like somehow most of the fandom is in agreement that revelations and the secret crusade have better storytelling and characterization than ac1.

SPEAKING OF WHICH, can we talk about how, even IF we completely ignore AC1 and treat revelations altaïr as his own character…. the narrative still doesn’t really work?

basically, the whole point of his story in rev is that "he gave his whole life to the brotherhood", this obsession led to him not using his time with his family which has him ending up dying alone in a dark library and this in turn makes ezio reevaluate his life choices…. except. he doesn’t? neglect? his family? or whatever? like, his devotion to the assassins is sort of painted as this tragic flaw that leads to a lonely death bc it supposedly comes at the cost of his family, but… his wife has joined the assassins, (at least) one of his sons is in the brotherhood and even when he goes to protect the assassins against the mongols, he takes his family with him (except for the son who stays behind bc he has a family of his own and who, ironically, ends up dying bc of that)… like, you can’t describe altaïr as a good husband and father in the database and have his son tell him that "everything that is good in me began with you, father" when they say goodbye, and then want to make us believe that he put his family behind the brotherhood and that that is a character flaw that leads to his tragedy.

because you HAVE to have a character’s tragedy be the result of a character flaw. like. that is how tragedies work. otherwise it just becomes tragedy for the sake of tragedy which is… boring bc it has no purpose. and we know it is SUPPOSED to have purpose bc ezIO FUCKING QUITS BEING AN ASSASSIN AFTER WITNESSING IT!

it’s like they want to have their cake and eat it, too — they didn’t want to actually make altaïr a bad husband/father, but still wanted to make his life a tragedy where he loses his family which is why instead they outsource all responsibility to abbas who now has to be the reason for ALL the deaths.

like, they try to make at least maria’s death kind of sort of the result of altaïr’s rashness or whatever but like… these guys KILLED THEIR SON and TOLD HIM THAT ALTAÏR HAD ORDERED HIS DEATH. like, altaïr losing it in response to that is not rash, it’s fucking logical and justified! if anything the scene made me angry at maria for trying to stop him. like, GIRL, he was YOUR son too??? but god forbid we give female characters actual real emotions, she has to fill the role of "voice of reason who dies for altaïr’s man pain" i fucking guess.

like, it’s this weird mix where his tragedy is simultaneously painted as his own fault but also not really bc abbas is the one responsible for all the shit that happens. it just… it just doesn’t really go together.

the only way to make his story make sense narratively and to give it actual purpose is by looking at it in the context of ezio’s story, bc the things he sees in altaïr’s memories are supposed to be a revelation (ha!) to ezio specifically. and i guess that’s maybe the crux of it all — altaïr’s story in revelations was conceived of first and foremost to support ezio’s story and development. which is probably also why many people maybe don’t notice bc, having skipped ac1 and started with ac2, the majority of people mostly care only about ezio and only really appreciate altaïr’s story in as far as it serves to push ezio forward. (tho i’ve also seen a few people say that ezio is also written kind of weird in rev, but i’ve never really been an ezio girly myself so i can’t speak to the truth of that)

like, altaïr dying alone in the library doesn’t really have to make sense for his character, i guess, bc it’s only really supposed to be a cautionary tale for ezio.

so, i guess, for once, they actually had a MAN dying for another man’s character development, which is pretty woke actually. ubisoft, i take everything back jksdsfjhgdsahfhsdhfghfdsgjhsdgjh

[oceanwithouthermoon]

maybe its just me but i cant stand when people are like "it just doesn't sit right with me how teruhashi thought about aiura 🥺" like yes... its not supposed to ??? because her thinking badly of other girls and prioritizing male validation over everything is one of her main flaws ??? can we talk about that WITHOUT making it seem like shes not allowed to have a single actual flaw without suddenly becoming an awful person? nobody can handle complex female characters at all and its so fucking annoying

[beneathsilverstars]

You've established that Odile has rather unhinged taste in people. Do you have further headcanons on that topic?

Hm... Most of the adjacent headcanons that I could talk about here would require a lot of psychological and cultural context. So let's just talk about that context!

As a child, Odile was disconnected from her peers due to heritage, temperament, and latent transgenderism. As lonely children sometimes do, she decided that she didn't need or want friends anyway, and even if she did, it wouldn't be any of these losers! They were always wasting their time on fun and social useless things that she was too weird smart and special to be invited want to do. She studied very hard and excelled in school, did a couple extracurriculars that didn't require much teamwork, and at some point during adolescence realized that unfortunately the Vaugardians were correct about the changing genders thing.

Ka Buan philosophy encourages people to understand themselves, refine themselves, explore different facets of themselves — but not change themselves, because fundamental characteristics simply cannot be changed. Accordingly, gender-noncomforming fashion and binding/padding and nicknames are fine, hormones and surgery/bodycraft and declaring yourself a different gender are not. But Odile wasn't one to let social mores stop her, so once she reached adulthood, she left her hometown and showed up at the city as Odile. And not just any city, but one with a reputation for cutting-edge craft research and certain countercultures.

You can't just show up and ask around for where the illegal bodycrafting is, though. You have to meet people, win their trust, let them introduce you to other people, repeat. Odile... honestly wasn't that great at it. She hadn't had much cause to practice social skills, so she wasn't very friendly or persuasive! But she was determined, thorough, confident, passionate, genuine in her intentions, and newly hot — and you can get away with a certain amount of blunt arrogance when you're hot. You just have to let people assume you're too cool and busy for humble niceties, which Odile did quite easily, because she's always thought of herself as such. So she found her way through the right queer punk circles eventually and completed her physical transition!

And she liked those circles. The people she met and the topics they discussed and the things they did were all so much more interesting than she had assumed any peers of hers could be! But she still considered herself more competent and correct than anyone else around her, because why would that change just because she moved? Her success in transitioning just further proved that she could do anything if she tried hard enough, that she was right all along in assuming her social failures were due not to lack of skill but last of interest. So she ended up in this dynamic where she was impressed by the people around her and wanted to have fun with them and learn more about them, but also thought herself better than them and above such things as kindness or friendship.

And she was in that "holy shit I'm surrounded by dykes and I'm a dyke now too" stage that some queer people experience after they come out.

So, she wasn't interested in boring. She wasn't interested in nice. She wasn't interested in regular people with regular concerns, like the peers who excluded her in her youth. She wasn't interested in romance or committed relationships or being emotionally vulnerable.

And, she wasn't put off by annoyance, because people annoyed her as a whole anyway. She wasn't put off by danger, because she was sure she could handle anything. She wasn't put off by clashing personalities, because it wasn't like she was planning to go on long walks on the beach with any of her partners anyway.

Thus, she found herself drawn to the most exciting people in the room. Interpersonal drama, emotional outbursts, poorly-thought-out-choices, intense obsession, risky hobbies... it was all oh-so thrilling! Of course, she did realize that the people she was attracted to had major, glaring flaws. But Odile was determined, thorough, confident, passionate, genuine in her intentions, and newly hot. If she couldn't fix them, who could?

We know from Odile's optional sidequest that when she sees something suspicious, she dedicates herself to solving the mystery. We know from her presence at Mirabelle's side that when she sees a problem, she steps in to help, because if you want something done right you do it yourself. The one major exception? The topic that has her backing down, giving up, confessing incompetence?

Emotions.

She has long since learned that she is not actually very good at fixing those.

[fumifooms]

Makima, devils and self-fulfillment

Dumping some Makima and CSM thoughts after a part 1 binge bc I think about her forever and ever. I’m sure I’m forgetting some devil lore, feel free to correct what i get wrong/what’s been confirmed. On the table of contents there’s why & how Makima got fixated on Chainsaw, her revealing liking for the country mouse and discussion of her nature & emotions & desires. Was the scorpion doomed to be a scorpion?

The most of this post was thought of during a conversation with @saccharineomens and I don’t think it makes sense to jump into the spiral it sent me on without first laying down the interesting groundwork theorizing she did:

"Thinking about how makima herself wants to be deified. I wonder whether she recognizes the difference between Love As Worship and the love that Aki, Power, and Denji had. She says she wants to help humanity by having Chainsawman eat the “bad” devils, but why does she want to help humans? Because she was ordered to by the Prime Minister? No, her drive seems much more personal than that, it seems like she teamed up with the PM for contractual reasons. (In the most recent chapters we see governmental members wanting certain devils to be eaten, too. What was Makima’s relationship with them? She’s too independent to just follow THEIR orders, she’s Control.)

So is she wanting to better humanity for the accolades, or out of the goodness of her heart? She sees the big picture. She sees any small sacrifice as worth it for the end result, and she’s ruthless. Perhaps she thinks that a more sedate human race would be easier to control? But Makima doesn’t loathe humanity. She never acts like she sees all humans as lesser. She loves humanity’s creations, like good food and movies. She just wants Good Things all the time

She says she prefers the country mouse BUT adds a story where she helps exterminate country mice like vermin. She likes the simplicity yet rejects the idea of being simple. Makima the complex individual you are"

~

The story itself seems to prefr the country mouse. Well- it strikes a balance, shows that a risk to live good & fully can be very worth it, but still that stability over ambition is preferable, proning having a simple happy life over fame, a simple job instead of a dangerous one, etc etc. And I do find Makima’s answer on this so so interesting, she prefers the country mouse, but this preference isn’t out of affection or sympathy but because of how relaxing it feels to exterminate them when they cause problems.

Order satisfies her. Her order satisfies her. She likes the action of rooting out disorder. Maybe this is the devil part, like how Power especially wants blood and drinking it, I feel there’s an itch to every devil, and for Makima it’s a very rigid world view/morality/standards & making things follow her rules and submit to her order.

And maybe this is why she’s attached to humans too, why she felt it was worth it to stick with the government- because devils are chaotic by nature (it’s a whole plot point that hell is essentially a free-for-all battleground for example), meanwhile humans are the species that universally rule Earth with systems they invented and instilled. They made then enforced rules, complex and intricate webs of them. She feels alienated amongst devils but she understands the humans’ need for an orderly organised society, and now she wants to be part of it. Control and conquest require social dynamics after all, requires civilizations or groups. War is chaotic while peace is, well, peaceful— Makima resents her sisters for being death, famine and war, things that throw the world in such chaos. She wants a world of perfect order, no matter how much collateral damage there will be if the end result is control.

This is even more interesting if you consider that yes, Makima is untouchable of her own design, she deifies herself with her omnipresent amount of control and the sway over others that she seeks and encourages— There is this urge to dehumanize her for it, that yes, she is the devil of control and that means she was never going to be any different, have any more feeling be any less uncanny. And I love part 2 so much for this, because it shows us the war devil and the famine devil and we see how frankly uncharismatic with poor self-discipline they are, Nayuta too, and it helps us realize just how much Makima’s success was self-made.

She admires Chainsaw Devil, the Hero of Hell, because he had his own code and his own rules and he made Hell, the chaos pit, submit to them unfailingly. Wherever he goes he decides what he does and what happens to the people he encounters but does so consistently, he has his mechanism and his rules that he always obeys, and he fulfills them every time. It’s still a mystery the why of Chainsaw Devil’s behavior back then and how it works exactly, maybe Pochita left hell because he was tired of these rules he lived by like chains, but still, he was a servant to his code. Makima would have been glad being killed and eaten by Chainsaw Devil because it’d have been becoming part of his design, his conquest, his domination, she’d have been part of that —his— order. Through her death she would be shaping his world and be part of a conqueror’s making history. Like how she appreciates the country mice that die for the sake of order. Like how sacrifices must be made to herself, like listing the name of every person whose life was lost to the Gun Devil— All for the ~greater good~, for her vision for the world. Conquest always thinks its reasons are justified.

And she does mention with the country mice thing that she goes out to a friend’s farm every year! She has a human friend?? That she visits yearly and she genuinely likes it?? Ultimately she lives a busy city life because of her goal and drive and her urge & satisfaction with overseeing shaping the world herself, but part of her, like so many characters including Angel and Aki and Reze, wishes she could live a slow peaceful country life. Moviegoing and dogs and mice in a farm- Wouldn’t it be so much simpler if Makima could find fulfillment and happiness in being a farmer, in keeping control of her own farm, getting satisfaction from exterminating vermin and expertly getting everything right, the right crops grown at the right time on the right soil? Here, too, in a way it’s trying to have full control of an ecosystem, but her goals would be easier to achieve and better, without ceaseless sacrifice or much pressure. But Makima wants grandiosity and her goal does matter to her on a fundamental and moral level, she does think she knows what’s best for the world, and with the power to change it why wouldn’t she strive to? Visiting the farm is just a break, just something she does in fall to help out and just in time to see the vermin extermination. It calms her, then it’s back to actual work.

In capitalism, even the one at the very top of the ladder is ultimately alienated from others and often unsatisfied by their lifestyle, always wanting more and more power because surely that’s the extra edge they must be missing to be content— like how Makima thinks she wants to dominate Chainsaw Devil instead of being his equal. And she says it herself too, she likes humans the way humans like dogs…….. And she keeps so many dogs :( Makima prefers the country mice because they’re calming to root out, maybe because she usually mainly deals with city mice. It’s very easy to equate humans to the mice in this allegory because it’s pretty direct and she’s already likened humans to lesser animals compared to her. She’s self-isolating by design for her design but she still craves relationships and contentment, and the dogs are the embodiment or her want for bonds and occasional simplicity because there is no possible ulterior motive, no way they tie back into her wider plan. They’re her personal life— something that feels so alien when speaking about Makima. Personality and individuality and likes and preferences and friends they visit every year. She likes how easily she can train a dog and how they become putty in her hands, at her beck and call, how much they love her and how much she enjoys their love. How simple and straightforward and easy it is. She keeps them because she likes being loved by them and loving them, and she’s gotten and raised so many. A conqueror always wants more and more and more, is never satisfied.

Devils and agency

Like Power the blood devil wanting blood and having a fixation on drinking it like with Denji’s, or how it was shocking that the violence devil was pretty tame and nice and how he himself theorized it was because he was a fiend and possessing a human body… There’s something to be said about nature vs nurture with the devils. The way they reincarnate and always embody their fear makes it seem categorically like nature, that they always always end up fulfilling the role they were named after and born to fill… Outside influence they’re helpless but to conform with. Like the humans accepting their spot in the social ladder and the shittiness of their living conditions and job under capitalism. Makima craved being equals with someone despite being the control/conquest devil, Angel Devil despite claiming to be a devil who likes to see humans dying was haunted by their deaths and wanted to avoid ones like Aki’s. The Ghost Devil being ironically haunted by Himeno, seemingly helping Aki in her memory out of… Lasting affection? Or maybe it was less about being haunted itself and more about it recognizing how Himeno haunted Aki, and acknowledging that, with the memento, paying her respect to the ghost of her. It’s Angel Devil’s devil nature that makes him like human suffering, so then is it his angel nature too to still care about their deaths? Is there truth to this or is that just personality, just our confirmation bias haunting every part of their identity like it might in their own view of themselves too? We do know different reincarnations of devils do have different personalities after all.

Yoru, war devil, is the most interesting one when talking about the nature vs nurture debate with devils. There is how through her we see the perhaps the most the consequences of a devil stopping being feared— we see a horseman for a concept as universal and horrifying as war be reduced to some bird who needs a contract with a human to have any power even just on the situation when meeting Asa. And through the story we get to know her better, and it becomes clear that her goal is fueled in good part by simply wanting to be remembered and respected through fear. Liked, validated, seen a powerful. But what is more isolating than war? Or control? We also see Nayuta accepting others’ house rules. If part 1 shows perhaps the futility of running away from the truth, with Denji’s memory, with escapist coping mechanisms, with passivity and denial under a corrupt system and with abusive relationships- running away from your own feelings and from the reality of things and from all that you are, more complex than simply human or devil or both or neither— part 2 builds upon the theme of cult of personalities, the chainsaw church, etc. The apocalypse is coming, but this celebrity superhero might save us all, or doom us all uh, dunno. The hero of hell reliving the cycle of pressure from responsibilities and expectations, maybe the part will end with Denji running away like Pochita did~

But yes, on the reverse, I think Famine is a very interesting example of how a devil’s namesake may be more innate than coerced by circumstances. One would think that a famine devil would only like inflicting famine upon others, not being famished itself, but Famine has a bottomless stomach that can never, ever be satisfied, sated. I struggle to find a psychological explanation for this, except that maybe instead of her being hungry it’s her feeling empty when she’s not eating, tasting and having that high sensory experience that releases serotonin in humans, sort of like drugs? But I do take this as a step towards the compulsion theory overall, feels like a reach in the consistency otherwise. And compulsion does not mean it’s something that they like nor that it’s something that they fight against, pretty neutral, just a nature that nudges you towards one path. Maybe it’s even just their go-to for entertainment. Maybe it’s the only thing that makes them feel right and whole. But still the debate remains, what is it, a compulsion or an urge or an itch or an active desire or a conscious chosen want? Does it change anything in practice?

And because of all of this earlier, devils being self-fulfilling prophecies with their role is not in unsignificant part nurture, because doing their atrocities is how they stay remembered— feared, powerful, known— hell and devils are a very isolating place and breed after all, and we do see devils can want companionship. Existentially, it’s their purpose and how they justify their place in the world, in the terrifyingly vast and unknowable cosmos.

We still know so little of what makes Chainsaw Devil so special, why his carnage is so self-controlled. Despite a chainsaw maybe being possibly one of the most "nature" thing you can be— a tool to cut things, a human tool that can be helpful for many things, something to be wielding by another at their judgement on what they decide, but mainly something to cut, a tool suited for carnage, to hurt and to destroy. A blade with a toothed chain, spinning around and around and around endlessly on the same road at the same pace. Such a…. Innately circular concept. And yet the Chainsaw Devil is his own, not driven by an urge or by chaos but his very own brand of order, his own unique assigned purpose, a "if you call i’ll come running to help" policy equalizing everyone. He chooses to withhold his destruction and interference otherwise, and then he chooses to be used. If it’s a choice, of course.

Maybe this is what inspired Makima so much, that Chainsaw Devil could decide what to make of himself despite expectations or innate role. Because even Hell he decided & managed to subjugate under his will and whim, with a precise vision and process. When Chainsaw Devil acts like Denji or is defeated, Makima clicks her tongue and loses her admiration and respect. Makima admired and liked Chainsaw Devil, but only as long as he matched her great image of him in her mind, as long as he followed he rules for what she thinks he should be like. She admired him for his unrivaled self-made success, but once he stepped out of that to truly embody self-fulfillment and agency, disappearing from hell to live on his own road at the beat of his own drum… Well. Surely that was a mistake she has to correct. However their second battle ends, the better conqueror will have prevailed and she’s happy about that, all in the spirit of domination and subjugation.

Imo Makima’s biggest tool, similarly capitalism’s most helpful effect for its own purposes, is complacency. Resignation and passivity helps uphold the system and go along the flow of the will of the people in power. Aki and Reze go along with orders even when knowing their job is trash, etc. In Angel Devil especially we see him go along with the flow uncaring about anyhing, and we discover it was in part due to Makima taking away memories that motivated him. If every devil decides this is just how things are and how things should be that’s what they’ll continue to be and do mindlessly, not pursuing a better life like Chainsaw Devil and Denj and not seeking to change the world like Makima. I think even Makima veils herself to a lot of things, she doesn’t like to think deeply about some things, like her desire for connection, or how making bad movies disappear is strenuous and unsustainable and requiring sacrifices at best— how her judgement is as subjective as anyone else. How liking the country mouse and her friend back at the farm and her dogs could be not devoid of sentimality. Wanting bad movies erased is her one biggest show of selfishness, of pettiness and individuality, it’s about her tastes, simple as. About how she can have tastes, and cry seeing a scene of people hug, and want things that aren’t logical, her ideology and mind twisted into a pretzel to avoid acknowledging that she doesn’t live and breathe purely for the mission she’s made a single-minded robot out of herself to accomplish. Nayuta is assertive and selfish and loud, Makima is manipulative and strategically both for her goals and for coping hollow.

Everything in her plans and goals she says is for the greater good, necessary evil, manufactured happiness the way she’ll have decided for people— and that’s the thing isn’t it, like with War, it’s the crack that shows it was all truly about herself after all. Her self-made deification still had the flaw that a self made it. Makima is not omniscient, and it’s not Chainsaw Devil the not-so-fellow-kindred-soul conqueror who gets the best of her, but a city mouse, a dog, someone she would have never thought to respect, Denji.

[whereismyhat5678]

Gustavo and Pizzahead in the same room, what would happen?

…

He will soon cease to exist