#so they're just living their life like that and they're happy!!!!

[leviathanxprincess]

Introducing Homicipher Characters to Your Plushies - Pt. 1

The Homicipher Characters come to you in hopes for whatever insanity they plan to drag you into, you instead have a different plan! Showing them your plushies!

Based off my series for the whb devils ! Consider this is scenario where you brought them back to your world with you and they understand your language fully now and vice versa !

Notes: Some very light suggestive content. Gender neutral reader ! This round of characters includes: Mr. Crawling, Mr. Scarletella, Mr. Chopped. Mr. Silvair, Mr. Gap, Mr. Hood, & Mr. Machete !

Mr. Crawling

Honestly you could do anything and it would just make him love you more.

But especially in this case!

He will sit and listen intently to every last thing you have to say about your plushies!

And he's memorized all of their names for you!! He knows which ones are your favorites and which ones you find the most comforting when you're upset.

He thinks you're so cute when you talk about them too!

He gives you and your plushies pets as you talk about them!!

Squishes your cheeks, you're the most adorable person to him and he's glad you shared with him such an important part of your life.

Will go out and find even more plushies for you. He would do anything for you after all!

Mr. Scarletella

If I'm being honest you could honestly talk about anything and he would just listen.

It wouldn't matter the topic. You wanna talk about your plushies? Then yeah of course he's gonna listen and eat up every detail.

He loves seeing your smile, and admittedly he does get a bit of cuteness aggression from it so prepare yourself for that lol.

However.... He does get kind of jealous of them too.

What do you mean he's not the only being you've given names to? Not to mention the amount of attention and affection you give to them.

Yes, these aren't living creatures and he knows this but he can't help himself!

He gets irritated about it, if you notice his jealousy right away and stop and give him attention then he'll get over it quick.

If it takes you longer to notice however. Things might end up requiring a much more bigger solution than just a few kisses and cuddles.

Mr. Chopped

They're very cute!! He likes your plushies and how excited and cute you get when you talk about them!!

But... They're not as cute as him, right?

Expect to be showing him an equal amount of attention as you are your plushies as your introducing him to them.

He just gets so grumpy and jealous way too easily.

He very much requires you to gush about him just as much as you gush about these inanimate objects.

And as long as you do so he is pleased and content and can live in harmony with your plushies.

He takes note of the names and while he might not remember every last detail, he does like talking to you about them!!

He knows it's an easy way to make you happy and he very much likes making you happy!!

However you'll never know that sometimes when you're not looking, he's glaring at them.

Mr. Silvair

While I don't think he really cares that much about the plushies, he is interested in humans. And you.

So he'll listen. It gives him a bit of insight to how not human minds work, but specifically yours.

This odd cute stuffed creatures bring you immense joy, he's not sure why, but he knows it does and he would like to know why.

Honestly it doesn't really matter what you do, everything to him provides him with more research.

That being said, it's not like it ends up being solely about his research.

He does end up finding himself being oddly endeared by your behavior and how happy you when talking about your plushies.

He's taking to placing them on your whenever you're upset or need comfort. Especially since he knows it works.

He can soft and sweet sometimes. At least when it comes to his favorite human, of course.

Mr. Gap

The idea came to you when you saw him peeking out of a dark gap that was in your plushie pile!

He came to ask one of his typical questions, but you didn't let him get a word in!

You immediately just picked up one of your plushies and started talking about them!

He doesn't really quite find anything interesting about the plushies, but he is interested in you so!

He will listen to what you have to say. And he does know some of your plushies by name after you tell him about them.

Will occasionally show up with plushies he's found that he thinks you will like.

Of course you need to give him your heart to have them though!

You won't?

Well... he guesses he can settle for a kiss or something instead....

Mr. Hood

He doesn't quite fully understand your deep attachment to these objects, but he'll support your love for them fully.

We already know he's a good teacher, but he's also one of the best listeners as well.

He will sit for however long it takes for you to share with him all of your plushies and their names and even lore if you have that for them as well.

He does find it rather endearing, even if he's not quite sure why he enjoys you talking about something for so long.

Will pat your head occasionally, if only he had a head that you could see because if he did he would have the softest smile on it as he watches you talk.

Truly experiencing you share this with him just puts an even deeper desire in him to protect you from any and all harm.

He will make sure and be guaranteed to protect that bright, beaming smile on your face that you have in this moment. At any cost.

Mr. Machete

He does not give a shit.

Or at least that's what he says.

And well, to be fair, he is annoyed by your focus on these cute nonthreatening soft things instead of just sparing with him or something.

Don't ask him if he's jealous of your plushies, he'll deny it to ends of the earth.

Ignore that he's been acting grumpy since.

Just give him a little extra attention and he'll be fine.

Also seems like the kind to get cuteness aggression. But his cuteness aggression just leads to him wanting to fight you. And bite you. Maybe some scratching too. Basically he's not gonna be nice about it and just give you squeezing hugs or something lol

[ylangelegy]

After MAMA awards I'M VERY PROUD OF MY BOYS and seeing Woozi crying, nooooo my mannnnn

So can I request Woozi or anyone after awards, all members celebrating with their partners hehe LOVE YOUUU!!!

PLEASE PLEASE 🛐🛐

🍑 i will really live the rest of my life repaying you.

you don't see seungcheol until the next day. such is the life of the general leader, it seems— the never-ending heralding, the non-stop worrying. he deals with his boys, first, then the fans, then the staff. but once that's all done, he's at your front door, collapsing into your arms before he's even past through the entryway. it doesn't matter how many awards its been. he is still overwhelmed by it every single time, and you are a soft place to land. he comes home to you and whispers the sweetest nothings in your hair. i'm so proud of them and they did so well and they're so happy. as he holds you tight— like you're the only thing keeping him upright— it's your turn to let him hear those words. i'm so proud of you. you did so well. you get to be happy, too.

the jeonghan on the other end of the video call has been quiet for the most part of the past half-hour. you'd be more worried if you hadn't already predicted where his solemness was coming from. "hannie? still with me?" you prompt gently, and he finally tears his gaze away from the ceiling to look back at you. "yeah. yeah, i'm with you," he answers. a beat. there are some things you no longer have to say out loud. how he wishes he was there. how he misses them and tries not to let it show. instead, you give him a reminder that's quiet and firm. "this is yours, too," you say. this award. this moment. these boys. all still his. there's a ghost of a smile on his face as he mumbles, "right. of course. how could i forget."

joshua likes keeping lists. a running one he has with you is that of gratitude, where the two of you try to end each day with acknowledgements of what you're grateful for. you're expecting a whole essay for him after tonight. he surprises you by keeping it short, sweet, and straight to the point. in no particular order, he types out into your shared note. music, the boys, you. hours later, he adds a footnote like it'd occurred to him as an afterthought: i'm always grateful for those three, but especially so today.

"look at them!" jun shrieks. his video call pixelates, either from spotty connection or his sudden burst of enthusiasm. you have half a mind to warn him that he may get a noise complaint again, but this time it'd be completely warranted. he's positively vibrating with excitement, his eyes glued to the livestream of his twelve brothers ascending the stage for their second award of the night. "look at them," he repeats, and this time his voice is more reverent than anything. you could comply, could do as he's asking, but your eyes are trained elsewhere. and look at you, too, you want to say. look at you and all that you've done to get this far.

even though it's been an exceptionally long day, soonyoung comes home brimming with adrenaline. he does dance routines in your living room. he jogs around your block until you beg him to just come back. he sings in the shower before collapsing onto the bed next to you, where he suddenly becomes boneless. the glow of pride stays even as the exhaustion hits. he pulls you against him and cuddles right into you. to soonyoung, this is as good as any trophy: the peace that comes with falling asleep next to you.

wonwoo has no destination in mind. he has a car with a full tank, and a playlist of all his favorite songs, and you in the passenger seat. that's more than enough. you pass through tunnels with warm lighting; expressways where he keeps the windows down so the wind will whip at your hair. occasionally, you'll stop to grab a snack or take a photo of something interesting on the side of the street. after hours of just going in circles, he'll ask, "should we keep driving?" even though he knows you'd never deny him this. this. his little celebration in the form of getting 'lost' with you.

nobody hears from jihoon for the next couple of days. the managers are worried, but the boys all just shake their heads and say that he's in good hands. which means: he's wherever you are. the two of you don't talk about his speech, about his public breakdown, because both things make him want to hide forever. instead— he sleeps in. he watches movies from months ago that he promised he'd get to. the two of you go on walks at night, and have breakfast at lunch time. the vicious cycle will soon have to begin again. jihoon knows that. but for a few, precious moments, his heart is not a heavy burden because it's safe and sound in your capable hands.

seokmin takes you on the textbook definition of your perfect date. a shopping spree? here's his black card. an amusement park? he'll rent out lotte world for the day, if he must. you're understandably baffled. he's the one who just won big, and yet you're the one being treated like royalty. try to resist and he'll only push back on you. seokmin already spoils you enough as is, but this is just a little more over-the-top than the day-to-day stuff. at the end of it all, his rationale is as sweet as it gets. "you keep me going," he tells you. "and so you deserve just as much credit as i do."

mingyu has always liked to celebrate with a meal. you'd expected his usual fare of some swanky restaurant or high-end café, but, this time, he asks for only free reign of your kitchen. he props his phone up against the salt shaker and pulls up a youtube video before flashing you his best 'just-trust-me' grin. your trust is not misplaced; the two of you do manage to bake the celebratory cake, though whether it's any good is an entirely different story. the end result doesn't matter as much as the process. mingyu is happiest about the flour marks on your cheeks, about the kisses he steals while you whisk eggs. it's not a birthday cake, but you light up a candle for him anyway. just for the hell of it. "make a wish," you tease. he's looking straight at you as he blows at the flame.

minghao asks for a beach day. the two of you set out for the nearest one. maybe the sand is a bit rocky; the shore, lacking in shells. he doesn't care. he only seeks out the sun beating on his back, the saltwater clinging to his skin, the first punch of air after emerging from the water. as the stolen weekend winds to a close, the two of you sit at the point where the water lap at your toes. neither of you have to speak. here, minghao lets the tide wash away the ache of homesickness. here, minghao redefines 'home' as a future with the boys of his youth, with the music that is as constant as the waves— and with you, of course.

the ferry ride to jeju is about four or so hours long, but seungkwan doesn't mind. there's just something so right about getting on the first vessel that will take him back where he has family waiting with a homecooked meal and a play-by-play of the award show. besides, the ferry means having four hours of uninterrupted leisure time with you. the pair of you literally have nowhere else to be except this boat and this point in time, which seungkwan is a little guilty to be so happy about. he's a glutton for your time and attention, and these ferry rides— these trips home— remind him just how much he likes taking the scenic route.

vernon treats it almost like it's just another day. almost. you're thrown off by his initial nonchalance, by the lack of utter fanfare in the way he asks you out to lunch and the two of you barely discuss the recent accolades. when you prompt him about it, you realize it's not because of arrogance or ignorance. "we're just doing what we always do," he says with an expression of mild confusion. winning?, you almost inquire half-jokingly, but that's only part of it. he elaborates, "we were just ourselves, y'know?"

when chan suggests a rage room, you're understandably confused. the wrath-based activity doesn't seem like the most optimal celebration, but you're not about to cramp his style. the two of you queue the angriest songs known to man before smashing some defunct appliances and throwing empty bottles against a wall. once your time is up, chan looks at you with that familiar spark of fire in his eyes. that dedication you fell in love with, that passion that has always burned bright. "again?" he asks, and you know it's not just the rage room that he's asking for.

[furiousgoldfish]

I've noticed the other day how life is fundamentally different when living out of abuse. I had an experience of waking up in the morning, sleepily tapping over to the kitchen in my pajamas, wondering what to make for breakfast, and making a plan for the day. Completely careless and unselfconscious, thinking only about the food and what I wanted to do with my day. It hit me then how impossible every aspect of this would be, had I still been living in the abuse.

If I was still around abusers, my first thought in the morning would not be 'oh I'm so sleepy I'm gonna find something to eat', it would be 'Are they in the house, are they in the room, are they already mad at me'. I would be looking around cautiously, listening for every sound that indicates they're near me. I would be checking the clock to see if their schedule had already put them in their workplace or wherever they go, and then still peering trough the doors anxiously to see if the hallway is clear, if I can get to the kitchen. I'd be checking how I look to see if I'll be reprimanded for being in the pajamas in the common area. I'd change just to avoid the possibility. I'd be checking each item of food and wondering if it's okay to take it, or whether there's a chance I'll get yelled at or blamed for taking it. I'd be analyzing the last words and actions we exchanged to try to predict how close the abuser is from blowing up and possibly attacking me.

The rest of my day would be scheduled around avoiding them, or alternatively, being in the place where they could easily find me, because if I'm not where I'm expected to be, they might get mad. All of my activities could be stopped and prevented at moment's notice if they decided I need to be doing something for them at that moment. I could be yelled at for not doing something for them sooner, for 'making them say it'.

If I wanted to go out, I'd have to consider if this is allowed, and if they'd want me to stay inside for one reason or another. If I am outside, I'd have to worry about what's going to happen to my stuff if I'm not back whenever they're expecting me to be there, or what kind of angry state I'd find them in. It would be safest to notify them of everything I'm doing, but they might immediately call it unnecessary, stupid, offensive or otherwise inconvenient, and force me to drop it and do something for them instead. Secrecy was the only way to do things, but also risky in case some part of it turns out to be not allowed. There were never any clear rules to what is okay, it would change with their moods.

If I could hear the abuser's car parking in the driveway, I would run back inside of my room, as if it was the 'safe area', when it wasn't. It would at least take me out of their view, so they wouldn't immediately think to start at me. But if they wanted to, they could just go inside of my room and charge at me then. I would just delay being the target, putting myself out of immediate sight. Of course this also meant I couldn't leave any trace of doing anything in the home, so it wouldn't be noticeable I just ran away. Everything has to look untouched.

And then when they interacted with me, I had to make sure to not show emotion on my face, to not look overly confident or happy, to not show any fear or anxiety, to not look sad or upset, to not look angry. I had to act normal, or else. I had to try and defend my own actions and interests walking a fine line of 'trying to let them know I'm upset and unhappy about this, without setting them off and causing them to blow up at me for talking back'. And I'd be told off for this too, because 'how could I complain when people have it soo much worse and I am ungrateful for having a roof over my head'. I had to do whatever was asked out of me, and restrain from even expressing it wasn't what I wanted, for the fear of losing the roof over my head.

Unbelievable I just lived like that for many years. And now I can flop in my pajamas to the kitchen, eyes half closed, make a mess, and think of nothing but food and plans for the day, not worrying for a second that someone could target me for any move I make. I still get scared easily, but nobody attacks me anymore. I can take any item of food, for it is all mine. I can decide to go out anytime, come back anytime, no consequences. I decide what is good for me to do, and nobody else gets an input. I can think of my own interests, and disgreard what anyone else in the world could want from me, because I don't exist for their convenience, and I don't have to worry about it anymore. What I lived before feels absolutely intolerable now. Even one second of that is unsurvivable.

[space-blue]

Fixing Vander and Silco's story (a bit)

Using canon events! Sadly we can't actually fix it, but I hope this makes it a little better. I make my own edit proposal at the end that changes the bar scene to include Felicia without issues.

They meet in the mines, and meet Felicia and her partner there too. They end up together somehow (I think we can put the brotherly allegations to rest now, eh?) and one of them (or both) inherit/buy a bar.

Although Vander is the barman, there is no indication Silco doesn't own or co-own the place. After all he comes to take it eventually as his own, and he's still not bartending. That's just not his gig.

It's implied that Vander and Silco made it, as in, got away from the mines, while Felicia clearly didn't, as she comes home to both her daughters with mining gear and gloves.

So despite Vander and Silco building the Lanes together, the mines aren't closed, and the work "isn't done".

Felicia says they've done it, and Vander is happy to celebrate their success. Meanwhile, Silco has his "NoZ" Nation of Zaun book in which he's scribbling, still planning.

Vander's first memory that Viktor sees even has Silco holding that book.

Later, in season 1 episode 3, we see that Vander tells Silco that he had Vander's respect, the Lanes' respect, but it "was never enough".

There's also this fakeout moment in the memory at the bar, where Vander says they're done, and Silco replies with "You're gravely mistaken". And I thought he was going to go all zealous and say "We'll only be done when we have the Nation of Zaun", but no, he claims he's Bozo 1.

And imo, he is probably right. He calls out Vander in act 1 saying "I trusted you and you betrayed me", and Vander does not contest this. It makes the most in character sense as well that Silco is the brains of the operation while Vander is the brawn.

And we can conclude that Silco's goals were always "bigger" and that the Lanes were indeed not enough.

Years pass, during which we can only assume Silco keeps building his Nation of Zaun and Vander happily bartends and manages the Lanes with Silco. Felicia keeps working the mines and raises Vi, then Powder.

Vi is at least 11, if not more, by the time she's on the bridge. This is just consistent with her model, but also to make her 18+ by the time of act 2.

It's a long ass time for Vander and Silco to be running a bar and the Lanes together. Even assuming Vi is more 8 or 9yo, Vander and Silco spend all that time being together.

Sadly, their models aren't aged very well.

We are also forced here to make some unfortunate assumptions.

It's not a problem, IMO, for Silco to know Felicia and be close to her. It's a problem for him to not be close to Vi and Powder too. Close enough to recognise them at least.

It's easy to say, "Well, Felicia went back to the mines and raised her kids and wasn't super involved with Vander and Silco, who lived much higher up in their bar." Adult friendships and all that.

IT MAKES SENSE, but then it makes zero sense that Vander would murder his life's partner, a man he's been with 10 years at MINIMUM (fuck knows how long they were together while in the mines), over the death of a friend in a revolt they allegedly BOTH participated in.

The memories also imply that Silco is responsible somehow, for throwing a molotov. And yet the molotov doesn't kill the enforcer.

But Vander is shown in the opening of Act 1 season 1 pummeling one to death himself, long after the rest of the revolt has died down. That enforcer wasn't getting back up lol

So whatever we pick, because the writers made Felicia and Silco close, they create a plot hole either way.

Either Vander is whacko and murders his husband over a dead friend at a revolt he set up (since he repeatedly apologises for what he did, and claims he "lost his head after she died" and had that guilt on his hands too)

Or Silco and Vi and Powder spend ALL of season 1 acting like they don't know each other at all. Then Silco takes in Powder and somehow never comments on the fact he was friends with her mom.

Everything being triggered by Felicia's death also means that Vander's emotional thematic moment dropping the gauntlets after seeing what his violence led to is then followed up by a horrible attempted murder on the love of his life, which is... you know. Bad writing.

So I propose that they indeed drift apart. Silco knows of Felicia's kids, and they hangout a bit, but they aren't that close. She's busy mining and being a mom, and Silco is busy making the safe Zaun he promised to deliver.

The creation of that Zaun leads them to act out revolts and uprisings. Vander is happy to follow. He's angry, like he tells Vi. And this manifests in violence. Silco points his violence. It's how they create the Lanes and the moniker of Hound of the Underground. A hound usually has a master, after all.

Vander is Silco's hound, and I think, in Vander's mind this absolves him of some of the consequences of his actions.

So when his friend dies on the Bridge, even if they haven't been that close in a while, well, it's easy to put the blame on Silco.

Since we're following the new canon timeline... we'll have to have him go back with the girls, ready to turn a new leaf.

I think the best way here is to have him either dropping them at an orphanage, or back at their home (trusting Vi to look after Powder for a while) or with friends.

That way, Vi and Powder aren't immediately in Silco's legs back at the drop.

Then Vander and Silco take part in the "clean up" at the bridge. They go get bodies, and since they have no real estate in the fissures, they commit them to the sea (we have canon monsters in there, so I'm sure it all gets gobbled up).

That way, we explain why Vander is weirdly shaved, and why Silco and him are at in the Pilt: they just commited the bodies of the fallen to the waters.

There may have been many others, but Silco and Vander stay there, in the shallows, as they talk.

Vander is done. He doesn't want more of this. He thinks Silco went too far with pushing this one to the bridge. Piltover got defensive and they lost too many people.

Silco doesn't get it. Where he goes, so does Vander, but Vander is his own man, he decided to come too, and he killed enforcers too. Felicia's death is tragic, but as he later will tell Renni about the death of her son: at least she died fighting for the cause, and not some petty infighting, or worse, an accident at the shitty mines.

Vander, the Hound, is not only mad with grief, he refuses to carry the blame of his own actions. It's a character flaw and that's fine! The angry man channels that anger with violence, the only way he knows how.

Silco is probably shocked, and may not say the right things to calm Vander down.

Silco is under the assumption that Vander BELIEVES IN HIS DREAM. That he's a true believer of the Nation of Zaun, like Sevika turns out to be. A true believer would understand sacrifice. A true believer would understand too, that stopping now, after Felicia's death, would make THAT VERY DEATH POINTLESS.

So maybe he screams at Vander! What do you MEAN abandoning the fight? What do you mean, being content with the Lanes? How dare you? You'd make her sacrifice meaningless! You'd make Felicia die a pointless death!

And Vander would bellow that it's over. No more death. No more bloodshed. He rescued her kids from that bridge, and they don't deserve to die too, they don't deserve to see more death.

And Silco screams back that it's their job to create Zaun so these children won't have to see more death. Vander is just delaying the struggle.

And then, perhaps, Silco may even mock him. Say that Vander can't change like that. That he's not that sort of person, to just hang up his gauntlets and go peaceful. That Felicia's blood is on his hands too, and that the only way out is through more blood, more sacrifice.

It would be a horrible point to make, if then Vander truly loses it. Silco runs, and Vander's hound comes out, just grabbing Silco and trying to drown him.

It would be poetic, because then Vander goes home in shame. Gets his arm patched up, hides the scar under a brace, collects the kids and tries to pretend like HE CAN BE THAT MAN. Even though he surrendered his gauntlets and metaphorical violence, and tries to lean into the bartender chill persona, there's what he did to Silco.

And later he'll tell Vander "I'll show you what you really are". Because Silco knows that Vander's promises of being a peaceful good dad are flimsy at best.

Anyway, Vander goes home, and eventually the impact of what he's done really hits him. He's single now, and with kids, and the Lanes to run, and nobody knows where Silco is.

Vander slowly realises Silco was right about one thing. Just because Vander followed, doesn't mean he wasn't behind that event on the bridge. Becoming the solo leader of the Lanes has to have hammered that home for him. Suddenly so much responsibility thrust on him.

So Felicia's death was on him too, and his actions against Silco are the proof that he is indeed the sort of man Silco said he was. At any rate, surrendering violence as his first reaction to any trigger will take a lot of work.

He goes to their old hideout and leaves a letter for Silco.

In the happy AU, Silco finds it, and returns to Vander BEFORE ever meeting Singed. There is no glowing eye, no shimmer, and no cannery.

In our AU, Silco never finds the letter. He finds Singed instead. Starts helping him develop shimmer.

I've been thinking that since the goal of shimmer is a form of "keeping alive" and also "bringing back to life", then it's possible that Silco's glowing eye is a byproduct of shimmer experimentation.

And that the only way to keep it alive and function is more shimmer injections. It would otherwise be grey and dead like in the Nice AU.

So Singed is also a factor here. He gives our Silco a real way to deal scary violence to Piltover. And this changes our Silco. He's more radicalised, and more opposed to Vander, having discovered that Vander works with Grayson to keep Zaun under Piltover's boot (basically making sure the boot stays, but doesn't press down too hard).

Vander is, as always, the enforcer of the status quo.

And though this works for them timeline wise, it sadly doesn't change the fact that Silco should know who Vander's kids are.

Vi and Jinx can be excused for not recognising him, what with him being one of their mom's adult friends, and scarred. But Silco doesn't have that luxury. His great friend Felicia had two very distinctive kids, ONE OF WHICH VANDER FUCKING NAMED! And her death triggered his husband so badly he tried to kill Silco over it. If anything, Silco would be hyper-aware of Felicia's kids.

And no amount of alternate fix-its changes that. It's permanent damage to season 1's Silco.

I feel like we can fix Vander's side of things by inventing an entire scene at the Pilt as I did above, but we can't fix 10 years of knowing your friend's kids and then a lifetime of acting like you don't know them.

I think it also cheapens the found family aspect of both Vander and Silco's adoption. You're left to wonder if they took in the girls only because they were friends with the mom.

Silco's adoption of Jinx and co-dependence with her was great because it spoke of the similar shape of their traumas, and how unexpected their bond seemed.

But now it's redolent of friendly obligation. And lies.

How would I fix it by keeping Felicia in the picture?

I would fully remove Felicia's one-on-one with the boys. That night at the bar? It's a party. Young Sevika is here too!

Felicia and many others are there, all congratulating Vander and Silco over the creation of the Lanes. Eventually Silco tires of the social niceties and goes to write in his notebook at the bar. Or maybe there's a montage of the night as the crowds thin.

In the end, Silco is writing, and Vander is still socialising. He talks to 3 people--Felicia, her husband, and a random person. They thank him for all his work. They've done it! And the conditions in the mines are so much better now thanks to XYZ!

Vander is beaming, he's just so pleased. It's clear for him this is the end goal. Felicia asks him, pointing to Silco, if he's okay.

Vander laughs, says Silco is fine, but he's already got his head back in the clouds. You see, Silco doesn't just want the Lanes, he dreams of a free Nation of Zaun.

The other 2 laugh, but Felicia sobers up. She rubs her belly, thoughtful. Then she says "Sounds like a dream worth fighting for."

I don't think she even needs to say anything about being pregnant, but she could go on with something like "I'm expecting. A girl, I think. I know. And I would love if she could grow in a safe city. I'm so scared she'll have to live the way I did, growing up.'

And Vander smiles sadly and tells her, 'We've gotten this far, and we're not going back. We'll make Zaun safe for your kiddo, I promise you that.'

And that's it.

Vander knows OF Felicia. She is a community member. He knows her enough, maybe from Lanes meetings, that eventually he can recognise her children. But they're not friends, and SILCO definitely isn't friends.

And the disagreement after the bridge is fully about where to go from then on, and Vander deciding he wants to run the Lanes and keep them safe, that what they have now is good enough, while Silco wants "more".

That disagreement can turn nasty, and the fact Vander tried to drown Silco becomes a statement about how violent and temperamental he is as "The Hound of the Underground". Something he'll regret soon enough and spend the next few years working hard to try and change.

What do you think?

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[roseadleyn]

i can't stop thinking about how in the end of the queen of nothing, jude says that neither her nor cardan know how to be happy. they don't know how to live without lying and scheming and fighting and plotting: with each other and with other people

so now imagine jude and cardan after the dust has settled. they wouldn't know what 2 do with each other. like just imagine them now getting to know each other. it's like they've never met because ofc they still bicker and everything, but they are married and they just fought and almost died for each other. and yet jude can't say what's cardan's favorite color and cardan doesn't know her favorite snacks

with the court of shadows as matchmakers it starts turning into a whole ass romcom. one night jude wakes up and cardan is just pacing the room nervously and she immediately panics and thinks something is wrong but no. cardan is taking her to one of the places he used to hide in as a little kid and he's. stressed, to say the least

it's one of the rare times jude gets to see elfhame without some pressing responsibility on her mind. she worries about the state of the palace in the hours they're gone and cardan tries ( as well as he can ) to reassure her that the court of shadows is there and she can let the court go for like,, 2 hours. and then jude is a little quiet and she's just staring around her like yeah this land that she has given her life and body for is so beautiful. she knows about cardan's mother, so she tells him about her own.

anyway i'll go more into depth later but like. it's a very rocky journey. jude sleeps fitfully and has nightmares; cardan tries to avoid sleep by getting drunk. jude's from the human lands and tells cardan to sober up. they both kinda just hold each other during a really bad night. cardan finds out balekin made jude kiss him and is so ashamed and shocked and horrified he can barely look her in the eyes except mutter apologies

cardan also persuades jude to drink btw. she's a very clingy drunk ( not weepy, she's not emotional or anything but she refuses to let go of him )

[ninupi]

Hello I have a request! Could you write a scenario where either Kakucho or Draken (you can write for both or do one or the other I don't mind) have a crush on reader(they're friends though but they haven't confessed) however there's someone else who also likes reader and asks them to help them get together with reader🥸How would they react? And what would they do? I hope that makes sense 😅

Thank you 😊

Jealous | k. draken & kakucho (separately)

₊˚⊹♡ tags; fem!reader, both of these are in a good timeline where everyone look gets along, mention of reader looking up at draken, everyone lowk making fun of sanzu in drakens lol, ran being canonically blind but refusing to wear glasses is so funny to me LMFAOO, kakucho being a liar boy

₊˚⊹♡ wc; 830 (draken) 331 (kakucho)

₊˚⊹♡ a/n; ahh im so happy I finally found time to write this, I literally couldn't stop thinking about it when I first saw it lol

k. draken

Draken was intensely watching the TV from the couch while Mikey and Mitsuya were competing in mortal combat on the TV. Most of the guys were over at Mikey's house right now taking turns playing the new game. 

"I'm going to kick your ass Mitsuya..." Mikey warned after receiving a combo almost ending his character's life "You said that the last two rounds, maybe you should focus on fighting!" Mitsuya laughed nudging Mikey with his elbow trying to distract him. 

"You seriously suck at this Mikey!" Smiley laughs angering the blonde even more "Next round, you and me asshole!" Mikey yells pointing at Smiley after Mitsuya's character brutally rips Mikey's apart. "Ok let's go, this is gonna be a piece of cake" he smiles while switching places with mitsuya to sit on the floor. 

While the two of them argued about who they wanted to play Draken heard the front door open "I'm home! And I brought y/n so don't be weird!" Draken perked up once he heard Emma mention your name, you two had become friends earlier this year at school and Emma's been bringing you around a lot more. 

"Ok, so no one cares that I'm home?" Emma asks walking into the living room while y/n is behind her "No, not really" Mikey answers locking his character in "Oh screw you Mikey, I hope you lose!" she yells throwing a couch pillow at the back of his head.

"Hi y/n! How are you?" Draken can't help the way his face contorts in disgust at Sanzu's tone of voice "Hi Haru, I'm fine. Are you playing too?" Haru? Draken didn't know that the two of you were so close "Yeah, I played against Baji earlier and won" he bragged causing Baji to yell at him. 

"Are you not going to say hi to me Draken?" you question softly kicking his leg, he can feel the back of his neck getwarm. "Hey" He knows he probably seems like an asshole he just gets so nervous every time he talks to you. But when he sees you smile at him he knows you don't mind his cold demeanor. 

"Come on y/n, let's go!" Emma grumbles grabbing your hand and leading you toward her room "Bye y/n!" Sanzu calls out waving to you "Bye Haru! Bye Draken!" you smile waving at the two of them. Draken gives Sanzu a certain look when he hears Baji speak up. 

"You're so embarrassing man..." he sighs and Draken looks at Baji who's nodding towards Sanzu "Huh? What do you mean?" Sanzu questions offended "When are you going to tell her you like her? I'm sure she knows but it's best to get rejected now" Smiley laughs starting up his round with Mikey. 

"What are you guys talking about? I don't like y/n..." Draken turns to give Sanzu giving him an unimpressed look while everyone else turns to look at him including Smiley who paused the game to do so, much to Mikey's dismay. "NO!" he screamed out at the paused screen displaying how he was about to hit a combo on Smiley's character. 

"Do you think we're dumb?" Mitsuya genuinely questions fully turning to face Sanzu "Hi y/n! I love you y/n! Can I lick your shoes y/n!" smiley mocks Sanzu causing the guys to all laugh except Sanzu who starts protesting in embarrassment "I don't sound like that, and be quiet what if she hears you!" he hisses looking in the direction of Emma's room where the two of you were. 

"Her room is on the other side of the house, they can't hear anything" Mikey explains while fidgeting with the controller in his hands "Whatever man just ask her out already she might say yes, who knows" Smiley shrugs turning back to the tvand unpausing the game.

"Can you help me ask her out?" Draken can't even hide the way his face contorts in disgust before facing Sanzu "What?" he asks even though he heard him the first time "Can you help me ask y/n out?" Sanzu asks again a bit more harshly this time "No, do it yourself" Draken snaps feeling a bit annoyed about Sanzu's presence now. 

He feels Sanzu slump into the couch next to him when he gets up saying he needs a drink when the others ask him where he's going "Get me a soda!" Mikey calls out before losing to Smiley, again. When Draken walks into the kitchen he sees you sitting there almost like you were waiting for him. 

"Hey..." he mutters walking to the fridge "I heard you guys," you say without much emotion "Oh" Draken just continues to stare at the inside of the fridge not really caring about a drink anymore "I don't really like Haru like that you know..." you sigh leaning against the counter next to the fridge. 

Draken can feel a weight lift off of his shoulders "Oh really?" he questions standing up a bit straighter while closing the fridge, without grabbing a drink. "Yeah I kinda like someone else...someone a bit taller." you smile looking up at him. "That's nice to know" he smiles giving you his full attention now. 

kakucho

Kakucho really liked ran haitani, but right now he really wanted to punch his teeth in. "I'm real sorry about that sweetheart, are you alright?" Kakucho watched ran held your arm softly with a clenched jaw as he approached the two of you "Yeah I'm fine, don't worry about it" you smiled up at him.

"Hey, what happened?" Kakucho questioned walking up behind you softly pulling you out of rans hold. "Oh nothing, we just bumped into each other" you explain with a soft laugh while ran moved a bit closer to Kakucho squinting at him. 

"You should wear your glasses, then you'd see where you're going" Kakucho muttered pushing Ran's face away roughly "Come on my eyesight ain't that bad" he laughed standing straight realizing it was Kakucho who joined the conversation. 

"It actually really is, you need glasses" Kakucho sighs wondering how Ran's gotten this far in life being so blind "Oh yeah you should probably get glasses if it's that bad! But I have to go, I'll see you later kakucho?" you question looking at him with hopeful eyes. 

"Yeah, I'll come pick you up" he smiles nudging you with his elbow "Ok great, I'll see you later, bye guys!" you call out, running towards your class "You gotta set me up with her Kakucho" ran immediately says once you're out of earshot, nudging him with his elbow.

  "Yeah, not happening man," Kakucho says walking away from the taller boy "What? Why not? C'mon, help me out man" Ran sighed throwing an arm over the younger boy's shoulder "I'm not gonna help you ask out my girlfriend."

Kakucho is forced to stop when ran stops walking looking at him slightly shocked "Oh man I'm sorry, I didn't know you two were dating…that's my bad" Kakucho refused to look at ran knowing he was lying straight to his face. Ran didn't need to know that right now though, "It's fine, but yeah I'm not setting you up with her."

[cheshiresense]

Hello Anon, I hope you won't mind if I screenshot pieces of your ask, I read it but my muse vaulted over your first 3 questions and then took off on your 4.1, and now here we are, so I'm just going to chop these up and post them depending on what I can come up with.

This started out with TBTP!Shunsui never getting his memories and then kind of spiralled. He still doesn't get his memories but... well, you'll see. It really ran away from me lmao. No thoughts behind it, just vibes, I hammered this out in like fifteen minutes and it felt like a fever dream.

Starrk would definitely have complicated feelings about it. Like at the start when he agreed to go back, I think a part of him even then expected for the entire thing to end with his death, even if they manage to neutralize Aizen and defeat the Wandenreich, but whether or not he manages to survive it all, he definitely has no plans to get together with TBTP!Shunsui.

For one, obviously they're not the same person. I wouldn't say they're completely different, and I imagine TBTP!Shunsui would be a lot closer to Winter War!Shunsui, whom Starrk had met first. But TYBW!Shunsui is the one Starrk knew best, and TYBW!Shunsui suffered quite a few losses in a very short time. Like to Shinigami, even a hundred years probably isn't that much, especially to one who's already lived over a thousand years. But TYBW!Shunsui lost everyone he'd known for a thousand years in like the space of a week, he lost his mentor, he lost his closest friend, and on top of all that, he had the weight of a war fuelled by a grudge a thousand years in the making dumped on his shoulders, he had the duties of Captain-Commander of the Gotei 13 dumped on him, he had the deaths of literal thousands of Shinigami dumped on him, and then in this AU he had to be the one to carry everyone else through another 7 years of waging an endless bloody war that after a certain point neither side was ever going to win, but he had no way of stopping it either.

That sort of thing would take its toll on anyone. TYBW!Shunsui was a man changed by loss and grief and more responsibilities than he'd ever wanted. I imagine he would've had very little time or cause to still remember how to be the person he was before the Quincy War when he still had it in him to relax and enjoy life.

But I also imagine that Starrk being there had helped. Starrk has always been a quick learner, and it's not like he'd really known anyone there save Shunsui. He stuck close to his Shinigami, watched and learnd the way Shunsui strategized for each assault and skirmish, contributed what he could where he could, pitched in by keeping the Fourth Divison alive and functioning, shouldered some of that weight by finally wielding all his strength and mowing down entire battlefields of Quincy on his own just so other Shinigami wouldn't have to and Shunsui would thereby have one less thing to worry about.

And in the precious stolen moments in-between, Shunsui had someone to go home with, someone who guarded him while he slept, someone to distract him from the war (from his failure to protect yet more Shinigami fallen in battle under his command), someone to sit beside who knew the same kind of loneliness and didn't recoil from it, who was content to hold him and share in his silence when he just needed a moment to breathe.

I imagine there wouldn't have been many things to be happy about, but I think they'd still manage to carve out some happiness between them. Starrk had known very little of things like human food and clothes and games and books. Shunsui had been delighted to introduce whatever he could to him. They learned about each other, about their similarities and differences, about their strengths and weakness and hopes and fears, secrets exchanged in the dead of night in the safety of a shared office, a shared bed, a shared home. And even in the midst of a war and so much death and destruction, they managed to build something beautiful and strong, something that would've been long-lasting too under any other circumstances.

Because then Shunsui dies, a year before the true end of the war, and Starrk had perhaps not seen it coming even though there was never any real guarantee on a battlefield, but it had also been an unspoken certainty of his, something he knew the way he knew bones were breakable and blood was red and murder was easy--the day Kyouraku Shunsui dies would be the day Coyote Starrk would also fall. With any luck, Shunsui would only die over his dead body, but fortune has never favoured Starrk, and he'd figured the other way was fine too. That way, Starrk wouldn't be yet another person in a long line of people to have left Shunsui behind and alone once again, and he'd thought it would make no real difference. If Shunsui dies, Starrk would surely be minutes behind, by his own hand or otherwise.

That doesn't happen. It doesn't happen because the rest of the Gotei had gotten over any qualms they might've had about working with an Arrancar or even Aizen's former Primera Espada years ago, and besides, Starrk had already broken all the known rules and beliefs several years back by becoming a whole soul and evolving into something no one had ever seen before. He couldn't really be considered a Hollow anymore, for all that there was no other name for him either. And with all that he'd done - following Shunsui into battles and meetings and everything in-between with the kind of steadfast devotion the tide held for the moon, burning the midnight oil right alongside all the other captains and lieutenants because even a hopeless war generated paperwork and headaches as much as it did low supplies and emergency triage and lists and lists of dead, powering through enemy forces to save even just one more Shinigami with the kind of firepower rivalled only by the likes of Kurosaki Ichigo and Aizen Sousuke, and carrying the Fourth on his back by sheer force of will and a truly terrifying mind that had soaked up every medical text he'd had time to read and every medical procedure he'd had time to learn or extrapolate or straight-up invent out of fatal necessity - Starrk had long become a pillar the Gotei 13 couldn't do without, a figure at their helm as familiar and reassuring as the long unwavering shadow Kyouraku had cast. And in the devastating wake of even their Captain-Commander's death, with only a handful of captains and their squads remaining, they couldn't afford another titanic loss on its heels.

And, as Hirako had been the one to point out, all glittering ruthless eyes borne from desperation and pragmatism--Kyouraku Shunsui had protected Soul Society with his very last breath; if they were to ever meet again, would Starrk even be able to look Shunsui in the eye if he wouldn't even stick around to try and defend the place and people Shunsui had loved enough to die for?

(A year later, Mimihagi would use the exact same argument to receive the answer he needed to send the second envoy the Soul King had chosen back in time to save the world.)

(Perhaps the lesson Starrk had learnt best at Shunsui's side had been the one of duty. Or perhaps it had been the one Shunsui hadn't even meant to teach but Starrk had learnt anyway, had held closest to his heart, the one of love.

They were about the same thing in the end, when it came to what Starrk would do for Shunsui.)

Hirako had even dragged Ichigo to stand before him, Isane too, each and every last person Starrk would even nominally call a comrade and was still alive--Hirako had put them all in front of him, and then he'd asked if Starrk could really go to his grave in peace.

The bastard had gotten his way in the end, and Starrk had never come as close to hitting someone unprovoked as he had right then. He'd been left the sole survivor once again, left to soldier on alone, and some days, he has no idea how he keeps going.

(Some days, Starrk had wondered, still wonders, if Shunsui had known his death was coming, or had known what would happen should his death come to pass, so he had made… arrangements accordingly. Most days, Starrk knows it's best not to know the answer because it would probably be the one thing he would never be able to forgive Shunsui for.)

So Starrk had hung on for another year and done his best for what was left of the Shinigami, for the dwindling pockets of civilians, for Kurosaki Ichigo. Anyone with eyes could tell though, that he'd just been waiting until the war was over one way or another, until the day he could lie down and not wake up again.

Of course, as it turned out, he wasn't even allowed that much, and a lifetime later, Starrk is still alive because death just won't take him, or he just won't die.

He has zero desire to even look at TBTP!Shunsui. The first time he has to anyway and sees two eyes instead of one, it's like a knife to the gut. They're lighter too, somehow, without the void of grief and exhaustion and quiet despair bruising their depths. His gaze still holds a weight to it, he's still loved and lost before, he's still lived a thousand years with all the joys and sorrows that entails, but he hasn't lost everything, hasn't lost those dearest to him, hasn't had to pick himself up and force himself to march on anyway towards a dead-end future, and for a moment, it's like Starrk is looking at a stranger.

He thinks, randomly, bizarrely, in those first few minutes of their second first meeting, that it's a good thing he always wears gloves when he goes out.

He thinks, madly, nonsensically, that if he were to touch this Shunsui now, it would stain him black with desolation, or red with blood that would never run dry.

He thinks, abruptly, hysterically, that he'd somehow forgotten the hole Shunsui had left behind with his death, as if the past year had numbed him so thoroughly that it had frozen even his grief in its tracks, except it all comes roaring back now, an empty pit that's always been waiting for him to remember it, threatening to drown him whole. Frankly, he would welcome it if he thought it would kill him once and for all.

It's frighteningly easy to pretend nothing is wrong. Perhaps it shouldn't be. He's never been one to emote outwardly, always been good at displaying nothing but impassivity without even trying, to the point where Shunsui had remarked more than once that it was difficult to read him (and then pouted and asked what Starrk was thinking - don't leave him out, it's hurtful - and he'd always want to know even when Starrk was clearly thinking of nothing important at all).

He greets this Shunsui politely, with the courtesy an Academy student should afford a captain, he makes smalltalk as necessary, he doesn't look at anyone in particular but also doesn't avoid anyone's gaze, and then he lets himself fall silent as Ichigo draws everyone's attention again with no deliberate effort whatsoever when he blows up at something his cousin says.

It's easy to fade into the background after that, to fade into himself, retreating into his own mind with the ease of long practice. Once upon a time, he could spend years like this, buried so deep in his own head that when he surfaced and became aware again, the sand dunes would've shifted and changed, and new mountains of bones would've already formed around him.

The few times eyes turn back to him, he nods in all the right places and responds at all the right times and pretends the world hasn't become white noise in his ears.

(He'd had these episodes a few times during the war, never when there was immediate work to be done or a fight to be fought, but in their downtime, it would sneak up on him. It had never lasted more than a couple hours at a time, but he'd scared the hell out of Shunsui the first time, had found himself at the Fourth when he'd woken, but then he'd explained, and Shunsui's expression had been unreadable but his eyes had looked pained. He'd shaken his head when Starrk had said he could leave him alone or just smack him out of it, either way he'd come back sooner or later, but Shunsui had refused, and every time it had happened after that, Starrk would wake with his head pillowed against Shunsui's shoulder or chest or thigh, Shunsui's arm wrapped around him or his bulk at his back and a blanket draped around them both, warm and comfortable and never alone.)

(He is alone again now, and he doesn't understand why it's so difficult to relearn something he had known for far longer than he hadn't.)

He's here to check Fujiwara's Hohou - Shunsui's cousin, Shunsui never mentioned her, she must've died long ago in the future - so he does that when he's cued and works her through the problem and suggests a few exercises, and that's that. He practically sleepwalks through the rest of this little gathering, barely manages to feel vaguely relieved when it looks like they can all finally part ways, and hazily wonders if he can get away with booting Ichigo back to his own room for the night. He's pretty sure he's going to end up scaring the kid if he falls even further into his own mind.

Then Shiba Kaien does him a favour out of the blue, nagging Ichigo until the kid snaps and irritably agrees to spend the night at his family's compound. Distantly, Starrk is aware of being invited as well, but that's easy enough to refuse, citing an exam in the morning - or maybe he says assignment due, he's not sure - and the Clan Head says next time then, and- and-

He blinks and it's time to go. Nothing seems amiss so he inclines his head at the captains and lieutenant, bids Ichigo and Fujiwara farewell, and then takes his leave in a flash of Shunpou.

Starrk has seconds to feel nebulously pleased with himself, another second to remind himself to avoid the Eighth like the plague from here on out, and then even that's gone as he locks himself in his room, and the rest of the night is lost. He is more than happy to lose it.

He'd had exactly zero presence of mind to catch the way Kyouraku Shunsui had been staring - if discreetly - at him the entire time, from under his hat or out of the corner of his eye, and by the end of the entire encounter, the man had even shaken his kimono over his hands to hide the way they'd slowly curled into white-knuckled fists.

Shunsui doesn't know how no one else had felt it, bleeding into the air like a severed artery--a bottomless chasm of loneliness and grief that had felt like it should've been screaming with the agony of it, except there'd only been the deafening silence of barren wastelands, an emptiness reflected in Starrk’s perfectly blank eyes and perfectly sculpted non-expression, and Shunsui doesn't understand why he alone had evidently just taken a metaphorical dive straight into the man's very soul.

(Starrk would've, if he'd noticed. After all, a lifetime ago, Kyoukotsu had loved bringing his wolves back to her soulscape to play with, and Katen had often visited his soulscape in turn for tea and conversation. His and Shunsui's souls had long learned to recognize each other, mingling in a way that had transcended all possible boundaries, and in the face of that, what did a little thing like time and space matter?)

When Starrk had left, Shunsui had almost followed, had wanted to with an instinctual sort of urgency he couldn't even explain to himself, let alone anyone else. Several times, he'd almost reached out while the others were talking, to provide comfort perhaps, or to take some of the pain even, and it had only been the equally intuitive certainty that doing so would break something in Starrk that had ultimately stopped him each time.

"Kyouraku, is something wrong?" Ukitake asks once the others are all gone, because of course his best friend had noticed something off with Shunsui, even if not with Starrk.

Shunsui reaches up and tugs on the brim of his hat and doesn't know how to explain that wrong could not even begin to cover whatever the hell had just happened.

His insides are still shuddering like they've been ripped out very slowly. He still wants to run all the way to the Academy this instant. And he feels-

He feels inexplicably like he's lost something beloved and doesn't know if he'll ever get it back.

[thefirst3chapters]

There's something about the Danes men recognizing the Gilmores' happiness in their final OS episodes. ("You look happier than when I saw you last." / "I just like to see you happy.") Maybe the S6 writers weren't sure that this was going to be Jess's last appearance, but this was Luke's definitive end for the series; in either case, at the time these episodes were written, they were the show's final statements on who these characters are.

It's established over and over how well Luke and Jess know the Gilmores and vice versa. Luke knows exactly what Lorelai brought to Bid-a-Basket day and has her wardrobe memorized and steadfastly believes that she can start her own inn even when she's convinced that she's failing. Jess knows that Rory isn't herself when she's in Hartford and remembers her birthday even though he's barely seen her in years (and ASP directly confirmed that the intention was to portray them as seeing each other for who they are). This mutual sense of knowing is baked into the first times both couples meet. The first time Lorelai met Luke, she pestered him during a lunch rush for coffee and for him to tell her his birthday until he relented. The first time Jess met Rory, he stole her book and wrote all over it. Both of these actions could've been horrible first impressions for anyone else, and on paper could've been horrible first impressions for Luke and Rory specifically, but they were charmed and intrigued, and they treasured the written keepsakes they were left with.

Even with this intrinsic knowledge, the Danes' failures as partners often boil down to the same problem: they retreat when they're in crisis. With their biggest, relationship-ending conflicts (Luke keeping April from Lorelai and the fallout of Jess not graduating), they spend months thinking that they have everything under control when they really don't and fail to tell the Gilmores anything. This is perhaps Jess's core flaw in S3 even more so than the fact that he left; he didn't have anywhere to stay, and finding out who his father was probably ended up being an important catalyst for the person he became, but he wasn't able to share any of that with Rory. She directly brings up her hurt over Jess not telling her anything when she's in the car with Lorelai and when she's on the phone with him, and her unhappiness here is so similar to Lorelai expressing her unhappiness about her relationship with Luke when she's in the car with the therapist. ("I don't like how I feel and I don't like what I do." / "I'm not happy, and I feel crappy all the time and I just think I've had it.") They've both been left behind.

This isn't the end, though. Luke and Jess spend their time apart from the Gilmores still loving them while also building/rebuilding their professional lives, coming to terms with their pasts, and showing up for their families. This is what I think separates Jess leaving from Christopher leaving. Christopher had options and resources to be in Rory's life but chose not to be a consistent presence, and Lorelai accepted that. Rory points this out to Lorelai in S5 E9: "You're just always waiting for him to get himself together." Rory can tell that dynamic isn't healthy from the years she's watched it play out. She doesn't let Jess back into her life when she knows he isn't ready, and he grows up without her out of his own determination. His circumstances were never really like Christopher's, and Rory was left in the dark about that at the time, but when he returns in S6, I think she recognizes the difference. There's a reason why Rory shares her deepest insecurities with Jess in AYITL and sprints out of her house because she can't wait to share her happiness with him but has such an emotionally distant relationship with Christopher. As for Luke and Lorelai, they gradually get closer in S7 as they learn to trust each other again. Luke turns to Lorelai when April is sick and he needs a character reference, and Lorelai's letter helps him win partial custody and reveals where her heart truly lies, which is a catalyst for her relationship with Christopher ending once and for all. Lorelai asks for Luke's help when she's looking for a new car, and even though it doesn't make sense to him, he finds a way for her to have the exact same model again because he knows it's important to her.

Then we get to those final scenes. At Truncheon, Jess can tell just by looking at Rory that she's happier now that she's back at Yale and is editing the newspaper. She breaks his heart, but he makes sure she'll get back to her car safely and offers himself as an alibi because he still wants the best for her. In "Bon Voyage," Luke stays up all night helping the town set up Rory's party and sewing a tarp together but doesn't even want Lorelai to know. Luke and Jess have hurt the Gilmores and been hurt by them, but for both of them, their final act in the OS is quietly, selflessly wanting Lorelai and Rory to be happy. I just can't fathom a Luke who doesn't love Lorelai or a Jess who doesn't love Rory; that love is imperfect and doesn't solely define either of them, but it's an inextricable part of who they are.

[sitp-recs]

Hi Liv, I loved the hidden gem list that you did in the past. I discovered so many new authors thanks to you. I love going back to my all time favourite authors but I also love discovering new ones. Would you or any of your followers have any hidden gems recs ? Could be long or short fics. Thank youuuu

I’m so happy to hear that! The hidden gems series is very dear to my heart and probably my favorite project. I started a s2 back in 2022 and have a few lists saved in my drafts, maybe I will revisit them in the new year… we’ll see! I found some additional rec posts that might interest you here, here and here. I haven’t read much this year, but if you’re looking for new-ish works I’d highly recommend the fics below, and also my reclist for the h/c fest. I’m sure my followers have more recs. Enjoy! 💜

Train Song by @fw00shy (T, 1.2k)

"Imagine: An extended summer vacation," Ginny said when she first pitched the trip to the group. "Fine," Hermione said after only a moment's hesitation, to which everyone cheered, because everyone knew she was the only one who could figure out how to make the Hogwarts Express fly.

All I Think About by @skeptiquewrites (T, 4.5k)

Sometimes all it takes is one perfect late summer night in June.

mind the gap by @cavendishbutterfly (E, 5k) - MCD

The first time Draco died was by far the worst. Once Potter started living with him, it got better.

everything you should say by icarusinflight (E, 7.5k)

They're not friends. But when Draco offers help, Harry takes it.

Tarry, Tarry, Wait For Me by @toomuchplor (E, 8.5k)

"I can't ask it of you," Draco says, quick and awkward, "I just thought you should know, I thought you needed to know, but none of this is your fault."

Seasons by @greattemptation (E, 9k)

Seconds pass, and it’s like he can see Draco worrying the sliver of glass in his heart, looking for a way to press it out, to expose the wound to the sun. It’s life; Harry can be patient.

Necro-romance by @thehoneybeet (E, 9k)

The first time Draco kills Potter, it's by accident.

like a scratch on the roof of your mouth by @eleadore (E, 9k)

Two weeks into the new year, Draco Malfoy saves Ron's life in a spectacular fashion.

coyote ugly by @garagepaperback (E, 10k)

One night, every month, Harry is a coyote. Malfoy has a silver tooth. Sometimes, he cuts Harry’s hair.

draco malfoy's substitute murder service by @oknowkiss (E, 10k)

When Harry joins the Curse Breakers shortly after his twenty-fifth birthday, he’s surprised to find himself assigned to the Department of Creatures, Cryptids, and Associated Calamities.

When the Flood Comes by @academicdisasterfic (E, 10k)

Nine years on from the war, Auror Potter is upholding the Ministry of Magic's rule of law. Senior legal counsel Draco Malfoy is challenging it.

Wobble Week 2023 by @moonflower-rose (E, 12k)

Potter can't keep his hands off himself. Draco can't look away.

With Hands Full of Dusk by @corvuscrowned (E, 15k)

Harry thought he'd found what he was searching for after the war. But as the quiet life he's earned begins to unravel at the seams, he finds himself searching instead for an elusive, mythical creature found only in lore and legend - with none other than Draco Malfoy as his companion.

Rich Friend by @sorrybutblog (E, 18k)

As far as Harry can tell, Draco Malfoy is still rich as hell. He’s just not a wizard anymore. Featuring: Draco Malfoy trying to make it as a Muggle pop star, Harry Potter as our confused and horny hero, bad driving, good music, and the mysterious magic of falling for someone.

Waking Up Slow by @sweet-s0rr0w, @ihopeyoubothstaysafefromharm (E, 22k)

'Twas the night before Christmas, although it’s July / Draco’s a shopkeeper, no-one knows why / There’s hiking and witch caves, freak snowfalls and more / Bad Christmas jumpers, nosy neighbours galore / Narcissa’s here too, but… something’s amiss / And what’s in those chocolates that’s making them kiss?

Sun Thief by BlackRose532, @floydig (E, 28k)

Or: Harry beats up a pimp and isn’t sorry about it, Draco deals black market potions, and they’re shagging. Again.

Truth to Materials by lately, @toomuchplor (E, 54k)

In which Harry learns to appreciate art and other pleasures of the flesh.

[sad-girl-hours23]

Thinking about Buck,

Still not over Tommy, deeply unsatisfied being under anyone else (he's tried and lost count how many times). His best friend has moved away; he's happy Eddie's working things out with Chris, but he misses them both terribly.

Amongst every one else, he feels...not so much a divide, but maybe less enmeshed than they used to be.

Nothing's wrong with his job, but well, it's starting to feel a lot less like his whole life and purpose and more like just that: a job. He's stagnant. Stuck.

He feels an itch under his skin that he can't scratch in any of his usual ways.

He's over pouring out his love into a Kitchen aid mixer. He's done trying to bury his need for connection into hook-ups.

Realizes maybe he's not as settled as he thought he was. Maybe he's still searching; but for what, he doesn't know. Himself. His purpose. Love.

Realizes he misses not being stuck in one place.

So he takes a vacation. Spends two weeks in Japan. Tells himself he won't create a full itinerary for his time there (he spends most of his flight doing so anyway, but he compromises with himself and leaves his second week open).

He reads about the Wind Phone. How people travel from all over to talk to their late loved ones through a rotary phone.

He doesn't go his first week there, but the thought of it is never far from his mind. (He's held hands with Death, he isn't sure what he's so afraid of).

He gets to the garden of Bell Gardia.

He thinks about Red Delacroix, who warned him against making firefighting his whole life. “You can be the hero and save lives, but don’t neglect having your own. Last thing you want is to be at the end holding nothing but regrets.” So he talks to Red; tells him he hasn't quite figured it out, is scared he never will.

He comes back the next day, Thomas on his mind. Buck tells him how he found his scrapbook the other day (he had forgotten that he'd even taken it). He tells him about Tommy, the love he thought he finally found (then lost). He smiles. "I know, I know. You don't find it, you make it." He can't help the crack in his voice "I really thought we were."

Buck wonders what it says about him that he's spending his vacation talking to dead. Knows he's not done yet

He comes back the next day, and the day after that, and the one after that. He talks to Daniel each time. He isn't quite sure how to picture him; the age he was in the last photos taken of him, the age when he died, the older Daniel that his coma dream imagined up? He talks to them all.

He gives him the abridged version of his life. Wonders if he should leave out the parts he knows would break his brother's heart, leaves them in anyway. It's cathartic; to confess of the survivor's guilt he's carried since learning of Daniel, how it all came flooding back when woke up from his coma, how it felt like he was letting him down again in the interest of his own survival.

He's certain he's out of tears, and he may not have a voice left by the end of his trip.

But he's got one more phone call to make. And he can't make it here, in this haunted phone booth. And he doesn't want to wait until it's too late.

He hasn't figured it all out. He doesn't know where him and Tommy went wrong. He knows they're both haunted by their own ghosts.

But Tommy's still here. And unlike Buck's ghosts on the other end of the phone, he can talk back.

So Buck does what he should have done months ago. He calls Tommy. He nearly sobs in relief when he hears a breath on the other end and a quiet, "Evan?"

[tobiasdrake]

Ranma 1/2 01x08 - Darling Charlotte

Charlotte? Wait... Hang on... Isn't that... Is she supposed to be here this early?

Oh, no, it's THIS girl. My mistake.

Okay. Yeah. I completely forgot she even existed. My memory was conflating her with the... with that one.... You know who I'm talking about....

...

*google google*

Akari. I was thinking of Akari. For some reason I thought Akari was the "CHARLOTTE!!!" girl, and I remember Akari is like endgame late introduction. But she's not the Charlotte girl.

Apparently these guys are named Shingo and Kiichi according to their photos.

The stuff in brackets isn't anything interesting. It's just quoting the dialogue they deliver here.

The two Ranma photos are Saotome Ranma, but an interesting note is that the pair have different names. They're both Ranma, yes. Both of them are 早乙女 Saotome. Which, fun fact, means "young maiden responsible for planting rice". Have fun with that, Transfem Ranma headcanon team.

But the girl Ranma is named らんま Ranma in Hiragana while the boy Ranma is named 乱馬 Ranma in Kanji. Ranma's name, incidentally, means "chaos".

When P-chan hears Akane call out to him, the kanji in his eyes flip from 気絶 kizetsu meaning "faint" to 起床 kisho which means "getting out of bed".

Wait, that's who the Charlotte girl is? I remember this guy. This is the ice skater bro who Ranma and Akane have to do a doubles match against, with him and some girl.

I completely forgot that the Charlotte girl was that girl. ...and thought she was Akari instead. Wow, my memory of this series leaves a lot to be desired.

"...they're what now?" ~Junko Enoshima, intrigued.

Look at that happy smile. Azusa really wants to bean him with that table. This is her second time reaching for it.

FACT CHECK. Let's check out the replay. Aaaaaaaaand:

Oh yeah. Without a doubt. Ignore Akane's squealing gal pals and the romantic flowers in the background and just look at that face. Akane is half a second from splitting him crotch to throat with a fucking ice skate.

Ranma's challenge fish cake saved Mikado's life.

You know what's fucking hilarious about this?

1 - It would actually make more sense for Ryoga to be Akane's partner than Ranma. Like Akane, Ryoga is very invested in Akane winning the contest and getting to keep P-chan. He doesn't want P-chan going with Azusa any more than Akane does, while Ranma's kinda rooting for the enemy team.

2 - However, despite having a compelling reason for replacing Ranma in this contest, Ryoga can't actually present that argument. The only reason to let him replace Ranma is because he is P-chan. Without that context, this is a wild-ass out-of-left-field demand for him to suddenly burst out of their bathroom and issue.

3 - But if he did explain that context to Akane... he still wouldn't get to replace Ranma, because the entire purpose of even competing in this match would be instantly voided. P-chan wouldn't be welcome in her room anymore.

So he's just. Fucked. He's just fucked. His tangled web of deceptions has left him powerless to participate in something that really matters to him.

Try not to live your life like Ryoga.

So begins the era of Ranma weaponizing his curse in order to escape the pressures of his own interpretation of masculinity. He turned himself into a girl because men shouldn't be bad at ice skating. I like that Akane's a little bit offended when she finds out why he switched.

Akane: I'm not impressed! I can do that too!

The 100-man spar is a cool demonstration of how talented these two are at ice skating as a martial art. But also, this is just a typical weekday morning for Akane.

In fact, Akane's actually more impressive because this is choreographed as shit. These guys are wearing jerseys with the number of their engagement on them. They attack in sequence so Mikado and Azusa can take down 01 then 02 then 03 then 04 and on and on until they hit 100.

This is a performance, not a brawl. Most generously, it's a training exercise to help them work on specific maneuvers. A very complex and multi-person version of practicing your kata. But it's not a real fight, where Akane's version always is.

YOU PICK THAT UP RIGHT THE FUCK NOW

I mean, the collar is actually adorable and I'm kinda with Azusa on that. It's way better than P-chan's shitty neck-rag that probably smells like three months of unwashed wandering.

BUT THAT THING IS MADE OF STABBING AND THERE'S LIKE A DOZEN OF THEM FOLDED INTO ONE

DO NOT LEAVE THAT LYING ON THE RINK FOR ANYONE TO FALL ON.

The way Ranma reacts to Mikado's advances is... honestly fascinating.

We saw Akane earlier. She was a moment away from breaking this sex pest in half. We talk a lot about Flight or Fight response, and Akane has a well-honed Fight response to sexual harassment. It's. Kind of. Been a thing for her for a very long time, both the harassment and the Fight response.

But an oft-overlooked response is the Freeze response. Both times, when Mikado moves in on Ranma, his response is to Freeze. Freeze is an involuntary stress reaction that temporarily suspends both Fight and Flight.

Once the deed is done and Ranma's able to form conscious thoughts again, then we see Flight.

Until he can reassert his masculinity, and only then does he react with Fight.

Which is itself very interesting. Not just for how it speaks to Ranma's internalization of gender norms; That he reacts with Flight when female and Fight when male. But there's more than just that going on here.

Ranma doesn't just flee from the rink. He flees to the public bathhouse and throws himself into the hot bath. He's not fleeing Mikado. He's not fleeing Akane or the situation.

Being violated in this way makes Ranma flee from femininity. His immediate kneejerk reaction when his brain retains the ability to make conscious decisions is, very emotionally and very powerfully, that he desperately wants to stop being a girl now.

A tragic choice that many women don't get to make.

Not only was Akane the only person on the rink that was able to keep up with the action here - with possible exception of Mikado but explicitly not Azusa - but she was even able to count how many hits Ranma landed.

This fight establishes that Akane and Ranma are actually more formidable than Azusa and Mikado. Like, if this were a street fight, they'd trash these suckers, no problem. Pound for pound, they're tougher.

It's only because they have to compete in Azusa and Mikado's arena that this is going to be difficult. Azusa and Mikado have the home field advantage, in a contest where mobility is intensely challenging and must be mastered and controlled in addition to the fighting.

He says while wearing the fucking collar. XD

This family needs a TV. XD

[night-owl-bard]

My Personal Experience with Mizuki and Mizu5

Coming out, fear of abandonment, loneliness, and learning to trust others.

When I started liking and following the Project SEKAI franchise, the game hadn't even been released in its global version yet. So you can tell I’ve been here for quite some time.

I identified with Mizuki right from the beginning. A person whose defense mechanism is to avoid or joke around in tense or conflicting situations? Someone with deep-seated anxiety and fear of being alone? Someone who never shows their true self out of fear of rejection? Well, that’s just me.

When I first started following the story, I was about the same age as the characters. Now I’m older, with more life experience—which, while not a lot, still makes me quite different from how I was when I was Mizuki's age.

The 'core' of this character revolves around two things: identity and connection.

Mizuki wants to be themselves—to dress, behave, and live in a way that feels true and comfortable.

And Mizuki wants to have people by their side. They want to feel supported, to support others, to hang out with real friends, and to have people who stay in their life. They're tired of losing.

Mizuki believes these two desires can’t coexist.

At first, they purposely keep their distance from the rest of Niigo so that, when the inevitable happens and everyone leaves, it won’t hurt as much. Later, they decide to make the most of the time they have left with the group. Mizuki doesn’t doubt that Niigo might accept them; they fear that Niigo only accepts them out of kindness, as if it’s out of pity.

Mizuki doesn’t want to be treated like a charity case. They want genuine connection, true belonging.

I don’t relate as much to Mizuki’s personality (I think Kanade is the one most like me), but I deeply connect with their struggles around identity and gender expression (I’m agender and AFAB) as well as with their issues of trust and abandonment.

I’m doing much better these days, but I know all too well what it feels like to want to disappear, to push people away out of fear that they’ll leave first, to keep everyone at arm's length. I have amazing friends who give me all the support in the world (they’re my Rui, wishing my heart to be protected haha).

Sometimes, I still fear ending up alone, that other circumstances will drive us apart, or that they're only kind to me because they’re good people. But those are just the bad days, which eventually fade away into a sea of good ones.

When I look at Mizuki, I see my younger self—scared, sad, lonely, and hopeless. I deeply wish to see a healing arc for them, just like we’re seeing with Mafuyu. It would be wonderful to see a character I identify with so much learn that they can have a happy life.

That they can be themselves and still be loved

[rainbowsky]

Good Morning Rainbowsky, hope you are well. I am just wondering with these latest songs..."the drifting "Life of Us" is no longer protracted"... in essence, do you think this is hinting at possible significant changes coming soon? Like millions of their fans, I love the MVs, they are so well produced, it would be grand if ggdd move forward in that direction to produce more MVs, movies and so on. Hopefully they will start recording their songs in English as well, they would be so well received with the international audience.

This is in reference to a previous post.

Hi dottie911, I'm well, thanks! Hope you are too. 😊

That's just an imperfect translation of something that makes more sense using the Chinese song names. The phrase using the Chinese song names reads:

孤舟上的「夜行人」，望着《灯塔》的方向，《漂流》变得不再漫长

The "Night Walker" on the lonely boat looks in the direction of "The Lighthouse", and the "Drifting" no longer seems so long.

vs. the one from my post, which read:

The "Night Person" on a lonely boat, looking towards the "Beacon", the drifting "Life of Us" is no longer protracted.

It looks to me like an attempt to tie all the song titles together into a little story that flows along with the themes of the songs. It's just that you can't say, " the 'Life of Us' no longer seems to be long" because that sounds weird in English. "Drifting" makes more sense in that sentence, but it doesn't simply translate using the English song titles.

The translation I used in that post comes from the official fan club, and they've chosen to write it as 'protracted' to imply 'neverending/tedious' rather than simply 'long'. Everyone would want a long life, few would want one that feels protracted - drawn out, tedious. As you can see they threw drifting in there too, to try to bring it together more, but it just doesn't work fully in English.

Perhaps a Chinese speaking reader can chime in here and do a better job of explaining this than I have.

I wouldn't read anything too dramatic into this. Let's not get carried away and over-interpret everything GG and DD post.

As I've said before, it's unrealistic for fans to expect anything earth-shattering from them. They're both into a groove of focusing on living their best lives and working on the kinds of projects that make them happy. It's highly unlikely they're going to be making any big public announcements or changes, or do anything that will destroy the equilibrium of their lives or disrupt things for the stakeholders connected to their careers.

Re: singing in English - both GG and DD do sing English songs fairly regularly. However, their audience is primarily Chinese-speaking and Chinese is their native language, so it makes sense that most of their work is in Chinese. It's also better for GG to be seen as a Chinese artist appealing to Chinese audiences - particularly with his debut album - rather than as someone who's singing for/appealing to foreigners. If he appeared to be appealing too strongly to foreigners he'd face backlash.

There are still more songs coming, one of them might be in English but I'd be surprised. This album is very personal, and GG is Chinese. His thoughts, ideas, concepts will all be in Chinese.

As an international fan I love it when I can understand what GG or DD is singing, but I enjoy the Chinese songs just as much.

[beevean]

I like the attention to detail pointing to just how bad working conditions for the Pony Express were. From the poor condition the Tulpa was clearly, the warning not to ingest the water from the ship's tap and shower, to sleeping more than 5 hours a day being strongly discouraged no matter how much you work your ass off. With policies and conditions so heinous, things would still have went to utter shit one way or another even without Jimmy intentionally crashing their freighter.

Another prevalent theme of MW is precisely this. Pony Express is an old company that treats its workers like mules (hence the horse motif) and sticks them in a cheap ship to keep up with the increasing popularity of machines. They are underpaying and overworking their staff and it's not even worth it because machines are that more convenient to companies, so they eventually go down regardless of the corners they cut at the expense of their employees.

Curly doesn't know if he wants to continue living this life, and feels guilty for not being happy about reaching an important position. Jimmy fears the prospective of returning to a life of struggling, a life where he'd be a failed nobody. Anya is forced to work in a hostile environment to keep pursuing her real dream of becoming a recognized nurse. Swansea has completely resigned himself to his wasted life, which makes him cynical and apathetic. Daisuke has no goal in life and no real talents, and has only taken the internship to make his parents happy and perhaps prove himself that he's not a total screw-up.

The psych evals really feel like going through the motions, don't they.

Maybe without Jimmy on board doing his Jimmy thing they would have been able to finish their job, because no one has the same explosive personality of our favorite co-pilot. But it wouldn't have been a nice trip, with all of their neuroses eventually clashing - especially if Curly still does his Curly thing and puts his honesty above the company's order of not revealing that they're out of job so early.

This is why the game can't just be reduced to "Jimmy is a sexist rapist asshole and Satan incarnate". There is a lot to dissect about the setting too.

[madelynhimegami]

Schezo Wegey Guide

Before we begin, I'd like to remind everyone that these summations are based on my understanding of the characters, and what I've observed of them within the games. Sometimes, that comes with a little bit of extra analysis and headcanons, which are inherently interpretive. Those headcanons are not to be taken as the Absolute Authority on the characters. These entire guides are not meant to be Absolute Authority. They're about giving a good look at the characters as they're shown to us, based on what I know.

Also, follow-up questions are always welcome.

That out the way,

Schezo Wegey is motivited entirely by a never-ending desire to gain more power. So he says.

First thing's first, let's discuss his accidental double-entendre's. While it's extremely tempting to try to force as many of them as possible in his dialogue (I know I've been guilty of it), he doesn't make those slips that often.

Generally, his freudian slips happen when he's excited, flustered, or irritated. Or in other words, when he's not taking the time to actually think about the words he's saying.

(He is, after all, trying to break the habit) (via practicing his speech to a handmade doll) (that he made himself)

The slip-ups are of greatest effect when he forgets to say a word, or says the right words in the wrong order, or mispronounces something (as opposed to, for instance, saying the word "come" with weird emphasis)

One good example that actually comes from Puzzle Pop (despite how he is in the rest of the game): "If you don't feel capable of doing this yourself, I'd be happy to play with [Carbuncle] myself for this next match."

Most importantly, it's unintentional. That's the whole point.

Amitie (and perhaps Lidelle) doesn't know what the word "creeper" means, but since Arle calls Schezo a creeper, she does too. It's more of an affectionate nickname than an insult, coming from her

Schezo's age is unknown. Granted, most of the cast's exact age is unknown, but Schezo stands out in that there's not a clear frame of reference of how old he is beyond "older than 14 and younger than Satan," which encompasses a rather wide range of possible ages.

Other characters usually address him as a young man-- which is noteworthy, since Satan looks like a young man but is immediately pegged as a geezer.

(Personally, I read him as in his early- to mid-twenties)

A fairly common interpretation (at least in my circles) of his history is that Schezo's mind/personality was corrupted as part of the process of inheriting the power and title of Dark Mage from Runelord.

This corrupted Schezo was the one Arle met at the start of Madou 2: Schezo with a body count, Schezo with minions, Schezo looking to abduct and murder others for the sake of harvesting their magic from them.

This interpretation continues that, thanks to his interactions with the core Madou cast, Schezo eventually overcame the corruption, resulting in the Dark Mage we know now.

Either way, it's a fact that he's not quite the edgey boy he used to be, and is aware of that fact.

He is still interested in becoming powerful, but is significantly less inclined to taking power by force, preferring to instead earn or win it.

But more than that, what he really wants is a life of peace and quiet. He will never get it.

And even more than that, he wants to keep close to Arle, Rulue, Witch, and (to an extent) Satan.

He once admitted to Arle that he needs her in his life. Arle just assumed he was trying to say "I want your power" again.

Perhaps he is scared of succumbing to corruption again in their abscence?

Schezo's preferred habitat is cave.

The cave in Primp Town that he's squatting in is one that used to be frequented by Klug (as seen in Fever 1). It's full of crystals that can be used for magic.

Despite living in a cave, he's still able to cook and bake as he feels a need to. How he manages it is an excellent question.

He adores cuteness and cute critters, but tries to not let it show around others. Acorn frogs, onion pixies, Carbuncle (sometimes), fish-mode Salde, palm-sized elephants, and Amitie's hat (with or without its power) are known subjects that endear him.

He and Witch are close, especially after Schezo saved her grandmother. And then declined to steal her magic immediately afterwords because of her weakened state.

They tend to bicker and/or try to exploit each other when they do bump into each other, however.

Schezo is analytical and observant, able to get accurate reads on people he spends time around when he cares to. It was he that figured out Ringo's fear of ghosts had nothing to do with them being "unscientific."

He also has powerful magic sensing ability, able to accurately detect how much magic power someone or something has on sight.

He can also determine the source of ongoing magical effects, if he's familiar with said sources.

He is able to communicate telepathically with the Dark Sword, though how often they communicate is unknown.

He's only ever silly as a means to an end. Anything beyond that is either an accident or concentrated sarcasm. Usually he has no patience for shenanigans, especially from other people.

He's not very patient about being around other people in general. This is a result of both introversion and social awkwardness (he does not know how to respond to positive interaction in the slightest).

The most likely of the regular cast to complain about the damn kids today (without being one of the damn kids himself).