#sorry i am having fucking emotions about this and so many

[mixupmycota]

I think also though like most things with this fucking guy it's got a flipside to it because he's never just one thing as much as he wants too be

I think he's genuinely lonely. I think, while it's still more about him than Cole, he does have genuine concern that if Cole stays in the state he is when it gets to the breaking point, he will be exploited, bound, and similarly achingly lonely - outcast to both spirit and mortal. Something something metaphor for neurodivergence in a writing team that has a lot of neurodiverse voices and in a franchise that is obsessed with masks and masking, literal and otherwise, and that keeps building in lore around the exploitation and abuse of neurodiverse populations, including and especially in institutionalized settings.

Thinking about how the original mortal Cole, in one banter, is revealed to have been made Tranquil and the hell he went through while in one such setting. I think Solas genuinely worries about that being Cole's fate! There is compassion in Solas, there is tenderness in him, but he is very selective where he allows it to show and he does like fifteen cognitive backflips to avoid extending it to himself, which further entrenches his patterns of self-isolation and reinforces that he IS alone, that he WILL die alone, that nobody can truly relate to him.

Which I think is a reason he wipes Cole's memories. Per the wiki:

"(Solas speaking through Cole) I'm sorry, Cole, but with your gift, I fear you might see the path that I must now walk in solitude forever. This fate is mine alone. Indeed, I would not wish it on an enemy, much less someone that I once cared for. Though you reach out in compassion, I must now insist that you forget. (Cole now speaks) I'm... what were we talking about? I'm ready to help people when you are."

Triggered when approaching Cole at Skyhold after the end of the game."

I think this also is not about Cole, not really, not totally. I believe he believes what he is saying here, his own justification for taking Cole's memory away. But he can't imagine another path that Cole might take. He can only operate on the assumption that Cole will follow in his footsteps.

"that i once cared for"

This guy is doing his best to sever his earthly and otherwise attachments as much as possible so he can remain in his state of cultivated solitude, which he hates, that makes him miserable, that he is TERRIFIED of because if anyone walks with him it might happen again. He might falter, and consider changing his mind. The allure of setting down the burden he has taken on, of just living as himself, is overwhelming and horrifyingly terrible to him, I think.

His gift for snatching defeat from the jaws of victory on this is truly impressive. I am shaking him back and forth while he's all limp at maximum speed, because unlike many people in Thedas, Solas has people actively reaching for him. Actively trying to help him.

He is alone because he decides to be. He decides to be because he feels like it's dangerous if he isn't. It's dangerous if he isn't, because it would mean he isn't alone. If he isn't alone, that means he can stop. If he stops, it was all for nothing.

Which, on that. God sorry for the massive off the cuff post added on here I'm very self-conscious and feel free to ignore me but.

The emotional journey Solas goes through in the like 0.5 seconds after he turns around and sees Varric there before he shuts the fuck down is really compelling to me to think about in the context of all of this, and also in the context of the mythic, cyclic narrative of his own life and trauma and atrocities that the confrontation is re-enacting.

Varric is there. Who calls him Chuckles. Varric, who no matter how Cole's quest goes ultimately, had a major impact on that spirit of Compassion, challenged Cole to consider new ways of thinking.

I think a lot at the moment about how Solas read Varric's books - seemingly repeatedly and somewhat obsessively considering he takes at least one with him in Trespasser.

Cole talks about Varric's writing gathering the attention of spirits, about it making things real. I think about Solas telling Varric that "this story does not end with my downfall."

In saying that it's like he's asserting his own reality again in the same way he seems too in the conversations in Inquisition about Cole. He shuts down the possibility of this being anything other than a confrontation, a threat, when he speaks the words "my downfall".

Referring back to another banter with Cole:

"Cole: How do you make them calm?

Varric: Who, Kid?

Cole: Everyone. You talk and the fear fades, slipping to sleep. Not always happy, but not angry.

Varric: Most people are like cats. They either puff up to look dangerous or they crouch down and hope you don't see them. You show them you're not a victim or threat, and they're in your lap and purring before you know it.

Cole: Cats swat my feet even when no one can see me.

Varric: That explains a lot."

Solas has to do this, because otherwise he knows full well that Varric could have an effect on him, because he's done it before. But he can't permit that, because of all of the above. He literally twists the narrative when he says that, and brings it into alignment with his own belief of how the world should be.

Which is making me think things about the Fade but I won't add that onto this post which is already too much as it is.

SORRY I TALKED SO MUCH I DONT EVEN KNOW IF THIS IS COHERENT but i've been turning all of this over a lot today. Solas is consistently inconsistent in a way I find extremely compelling to chew on.

Does anyone ever think how in Inquisition Solas was probably, to some extent, envious of Cole’s journey from a spirit to a person? Of how that would explain why he was holding so viciously to his approach against Varric’s?

Because Cole wants to be a person. By contrast to Solas, no one begged Cole to leave his spirit nature behind against his own wishes;

Cole didn’t kill/mutilate anyone to gain a corporeal form either. More like he took on and continued a life that had already ended.

Does anyone ever think that Solas is unable to accept that Cole can become a person because that would mean he’d also have to confront the fact that his own actions (him and ‘his people’ gaining a body at the expense of Titans) were unjustifiable anymore?

Because... there could be another way, that’s not his, and because he could be wrong. I bet that would terrify any ancient being who’s been struggling with doing the right thing for centuries.

Or who knows, maybe I’m just rambling. Something, something I think we need to talk more about the implications of Cole becoming a person and Varric’s role in it. That quest certainly lands so differently after Veilguard.

[rxttenfish]

Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.

[skrunksthatwunk]

you go to a lesbian blog and find it says women only!! no men allowed!!! and go oh! excuse me, um, what about other lesbians? plenty of lesbians are genderqueer... and they go well, okay, go fuck yourself tim chop off your sweaty dick and stop calling yourself a lesbian. you do not have a dick, actually. you think about that fact often, even though it does you no good. you do not tell this person that.

you go to another lesbian blog and it says women only and you try again, and this time they change it to wlw + nblw only (non-men who love non-men :D). and you'll say hey i appreciate that but gender's not really that cut and dry for a lot of people. someone could be both a man and nonbinary, for instance. i just worry that you're looking at nonbinary as a generic third gender, or an extension of womanhood. i mean yeah you include nblw in your tags but all your posts are about pussy-havers exclusively. what's with that? and they say go fuck yourself you pervy man pretending to be a lesbian. you tried to sneak in but i won't let you.

so you go to a lesbian blog with a dozen or so posts about queer people needing to be more weird about it and you sigh in relief. but you still see the men dni. that's odd. hoping for the best, you say hey! i know you mean well but please maybe don't put men dni at the end of the lovely posts on your lesbian blog bc some lesbians are men. and they'll be like ok!! well you're allowed ;) and you say no that's not. no. some men are lesbians not just me. you think about your own dicklessness and wonder if that's why you were given entry. and you add that even if male lesbians are allowed, there's no indication of that. how would anyone know without asking? and they're like ohh gotcha gotcha well men dni + this is for sapphics only!! and you'll be like ok well that treats the concepts of men and sapphics as mutually exclusive identities and i just told you that's not true and you agreed with me so.. i don't think that solves our problem. and they're like. ok. fine. men dni but genderfluid and multigender people are allowed! and you're like no see that's. that's still the same thing.. you're saying the same thing just with different words. if you don't want men to interact but you're fine with multigender/genderfluid/etc ppl interacting then you either don't see them as Real Men (because they don't reach a standard of Full Manhood) or Complete Men (because they're only Part-Time Men), both of which suggest that they are, in some way, not men or less-than men, which is invalidating and defeats the point of the exception in the first place (accommodation) OR that you don't really mean the dni which is confusing and inconsistent and makes guydykes feel weird and uncomfortable and excluded from the lesbian space you're trying to cultivate. and they're like um. ok. so. cishet men dni? and you're like well i think that makes more sense, but what if someone identifies as both a cishet man and a sapphic? again, if we're trying to accommodate the genderfucky populace then that has to be a possibility that is considered. and they say god you people are never happy. what do you want me to do? what am i supposed to say to keep the right men out? and you pause. you empathize with the need for a space free from dudes trying to fuck you straight and feminine. dudes who watch lesbian porn and joke about what they'd do if they were allowed into girls locker rooms. who look at you like a piece of meat, and like someone who looks at women like pieces of meat in the same way he does. you get it. you know. you want a space where you can be sapphic, too. that's why you came to these blogs in the first place. you brace yourself and you say well i don't know that there are "right men" to keep out. i don't know that there's any single label that would accomplish whatever it is you're trying to accomplish. you could go for "sapphics only" or "queers only" and i think that might be the closest thing to what you want, but it's never going to be perfect. creating any exclusive space is going to shut out people you didn't account for, and the broader the label, the more people will be shut out that you didn't want to shut out. and what about people who don't know if they're allowed? what of questioning transbians, where are they supposed to go? and, frankly, i think i might rather my dykey posts get read and appreciated by a gay guy who sees me as a man than a woman who only sees me as a sacred womb, pure from male perversions or violence or whatever. i think community might just be more complex than a dni can handle. and they look at you and say i don't want to not have a dni. i think you're too permissive. you can't just "what about" or microlabel your way into everything. go fuck yourself, i bet you're not even a lesbian anyway. go find a real problem to get mad about.

you go to a lesbian blog. you ignore the men dni because you know you probably don't even count to them. or maybe you do count and, out of respect for your manhood, they'd shun you accordingly. you try to feel okay about that. you scroll past dozens of posts about mediocre men and gagging at straight friends' boyfriends and how gross and undeserving men are of the beautiful women they couple up with and how all women should be gay so they can get treated right and and and and and. you finally find a post about curling into someone you love and feeling at peace and try to lose yourself in it. you know that feeling is what unites you, what makes you belong. you try to focus on it. you think about carding your hands through a butch's hair or lacing fingers with a femme and feeling warm and loved and more yourself than you ever have before. like this is who you're meant to be. you read about lesboys and butch boytoys and genderfucky dykes and big hairy deep-voiced wonderful women (like you want to be someday, like you wish you could make yourself) and you try to ignore the men dni underneath each and every post. and you daydream about meeting someone kind and earnest at a lesbian bar even though you don't think any such bars exist within three states of you and you can't drink and don't want to drink because you need to be in control of yourself at all times so you don't fuck up like you're always about to and here in the nonexistent lesbian bar you feel wanted and safe and in good company. you picture your ideal, happiest self. it is a mistake. ideal-you has a goatee. not the mascara one you smear on and call drag even though you know it's not drag, not really, the beard you call drag because you think everyone would look at you sadly if you told them it was just to pretend you had something out of your reach. a beard that's soft and that you grew and that cannot be smudged away if you get too comfortable with it. the dream shatters. your people pull away from you, their scoffs mixing with the mind-numbing gay girl bedroom pop you learned to settle for just to have something that almost resembled you, they all pull away and turn their backs and do not look at you. you're too close to being a man now, even though you're the same amount of man as before. and they know you're not supposed to interact with men, not as you would with dykes, at least. and it sours. it's all your imagination, all in your head, but it sours.

you sigh. you think about how small you are. how short, how narrow, how feeble. how your voice pitches up when you talk to strangers because it's easier to speak quietly when it carries more, and because you're nervous. because it's a chore to talk, like everything is. you think about testosterone. you think about how your family would look at you, the questions they would ask, your answers they would only pretend to accept. the uncomfortable glances and whispered questions they'd try to hide from you. you think about how small you are, and how small you will always be. how you don't know of a way to fix it, but even if there was one, no one would want you anymore. you'd be the only one thinking it made you a cooler dyke. you think about how you don't even want a T-voice all the time, how you'll never be able to switch it at will, because you don't know how and can't bring yourself to figure it out. you think about how your throat closes around every hint of your own attraction. how wanting is perverse, how wanting is invasive, how wanting is embarrassing and too vulnerable so it must stay anonymous, as an online witness, and how you can barely manage to form or maintain friendships because your brain makes you pull away, always spinning out and struggling to recover from the simplest of interactions. how they'll all leave you and you won't chase after them at all and how that will hurt them. how stuck you get. how it looks like nothing's holding you back, how that frustrates everyone who thought you were going to be more than you were. the people you love who understand except when it comes to being ghosted, being shut out. how you don't want to hurt them. how you can't tell them that because you're stuck. how you turn to stone when touched, how you never reach out, how you lose your speech and can't look at people, how your autism is fun and sexy until it becomes real and you never see them anymore, how much you longed for someone who knew everything without you having to explain, and who loved you anyway. how unreasonable you know that is to expect of anyone. you think about that not-even-real lesbian bar. you think about how you still can't drive. how you can't leave your home on your own, without dragging somebody into helping you. how you can't leave your body. how you can't leave your manhood behind.

you think about finding another lesbian blog and ignoring everything. about skimming it for the parts you can juice some meaning from. the parts men ignore and don't understand, and how typical of you it is to do so. or the parts where you're not welcome and you should accept that, because it's for lesbians only. how you are a lesbian anyway. how you're meant to choose lesbian or man, how each is a betrayal of some kind to yourself or your people, your family, your lovely strangers, your rare friendly acquaintances. about the parts that tell you you're not wanted, that you're ugly and lazy and gross and insert yourself everywhere without even asking. about the parts that tell you you are hated, and how lesbians are above it all by rejecting men. how lesbians are each blessed miracles. about the parts that say you should be ashamed of being whatever twisted confused freak you are, of everything, of looking and wanting or not looking or not wanting, of picking and choosing instead of taking it all in with a smile. after all, shouldn't you take it? or is your ego too fragile, as men's so often are? aren't you tired? good. we're not here for your consumption. and we sure as hell don't want your company or "community" or whatever. didn't you read the sign? no boys allowed. and if you want to come in you have to make up your mind. as if you haven't told them the only answer you have. you're both. you're both.

you know you broke the rule by interacting.

but it gets lonely sometimes. you wonder if they know.

[longagoitwastuesday]

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

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

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

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

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

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

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

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

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

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

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

[get-more-bald]

the biggest thing about X6 is not that he doesn't think of himself as human (though he doesn't, and according to some it's correct) BUT that he doesn't see himself as a Person

[unexpectedbrickattack]

Ngl I'm kind of dillydallying around my own SDV fixation and i'd KILL to see what your brain is doing to this game like i for one would eat up dat stuff UP . . .

I love the way this is phrased; genuinely 😭💖 like im a force of nature tearing through any new interest like its made of wet tissue paper 💥💥💥

I thought about it some more and i will (eventually) make an sdv blog. Its going to be a mess having all my interests on one dashboard (im lazy and i dont want to sign in and out all the time for diff accounts lol) but i need sdv stuff in sight or ill explode. For now tho i will ramble about random hcs rattling around in my brain

- The valley is FULL of magic, but not alot of Magical Beings that utilize that magic. If the residents of pelican town knew more about magic, there would be alot more wizards than just. The Wizard.

- Everyone in pelican town has some kind of latent magic, or at the very least, an affinity or sensitivity to magic. I like to think that magic builds in very secluded corners of their world and the area including (and surrounding) pelican town is simply one of those places.

-(sorry, i am just obsessed with Places and Magic) I like the idea of your farmer being drawn to pelican town bc they have a bit of magic in them. The letter is just A Letter, but it is the desire to see this town that makes them leave their old life behind. I am obsessed w the idea that the magic in the farmer craves the valley bc it sees the valley as its home, and by extension, the farmer sees the valley as their home. The people of pelican town rarely leave bc the magic in them sees the valley as their home always. The biggest examples of this are Kent, Demetrius, Evelyn, Emily and Shane. The huge exceptions to this (still workin on it) are lewis and sebastian; lewis bc i see him as a normal, non-magical being trying to wrangle the weirdness of this town, and sebastian bc his feelings of isolation and not being understood propels him to crave the world outside of the valley. (That changes a bit if u befriend him/romance him)

-(shane is weird bc hes super depressed and lonely but his happiness comes from his new ‘ragtag family’ (his words) and his very Not Normal chickens. The animals of the valley love him bc he loves them and he becomes tied to the valley bc of it. Marnie has always loved the animals of the valley and some of the love they had for her definitely rubbed off onto shane, who very openly admits he loves the chickens 💙)

-I wasnt very fond of the idea of purple=magic but i think that was bc i often saw it as a way to tie-in the wizard and abigail. I am still trying to get through the friendships for everyone but rn it doesnt feel like theres any connection between them (and caroline). But. I do like the idea of odd, unnatural colors coming through bc of magic. Alex and Pierre having normal brown hair; Haley and Sam being true blondes. BUT. Shane and Jas having purple-ish hair. Emily and Caroline have blue toned hair. Even vincent have pinkish hair 🥺💖 (and dare i say….sebastian with purple/black hair like shane 👀…maybe he has more magic in him than hed like to believe). Abigail doesnt count bc from what ive seen, Caroline laments about her daughters dyed hair. “When she was younger it used to be chestnut brown” which…awww she took after her dad lol.

- LAST THING. This is not an hc i am just mad about this. I cannot believe the game doesnt allow u to befriend Marlon. What the fuck. What the fuck !!! I love him!!! I want to be friends w the chill monster slayer! Im a monster slayer too!!! Let me give him gifts !!! Fuck ! 😭😭😭💥💥💥💥 Also. I know how to write old man yaoi. They shouldve let me do a romance path for willy, clint and marlon. And the wizard i guess but someone already did that. Linus doesnt count bc hes ascended the need for human romance; hes one w nature (read. aroace). And we (linus and willy and the farmer) already co-raise leo so that counts for something i think 🤔

[aaaaaaaaagenloser]

(Tw: kinda transphobia? Use of it/its for a character who hasn’t declared what their pronouns are yet. Arguments over whether a character is a person or not; that ties into the pronoun thing here. Bonus points for descriptions of canon-typical gore yipeeee)

An update from after writing this: oh this. Got. This one got away from me?? I think I started this at 4 minutes past the hour. It is now 43 minutes past the hour. shitt.

Update; it is now 17 minutes after the NEXT hour. 26 minutes after th last update. I have seen god in the past hour and she shook in fear of both my power and audacity. I have lunch with my family scheduled in like 6 hours and I have not yet slept. This wasn’t meant to be as long as it is but I was possessed and this is the result. I may edit it and make it smoother later but I’ll make that a separate post, I want this sleep-deprived chunk of words to be here as like a monument to the fact that I could have been playing stardew valley during this time but I chose to do this instead

TLDR: long ass story ahead written by a sleep-deprived and hyperfixation-driven author. Who is now going the fuck to BED

“We can’t just keep it! What if it has a tracking device? It won’t let us fucking touch it so there’s no way of knowing it has one unless it leads them right to us!”

“Ok, I hear you but think. That hasn’t happened yet. It’s been about what, three days? and that hasn’t happened, and they haven’t been violent towards any of us at all. They haven’t tried to go back either, so there’s no risk of them telling or leading Showfall where we are.”

“Why do you keep calling it ‘they’?”

“Well they can’t be an “it” now can it? …wait.”

“Ok can we figure out the gender of the thing in the other room after we figure out if it’s a threat to us or not. It’s not even a fucking person, you remember what those things did to you back there, don’t you?”

“Those people were not themselves, they were just doing what he wanted them to do—“

“They’re not fucking people! Those things are all part of Showfall, just like Hetch was! It’s just waiting for the right time to turn us in, or pull some shit on one of us like they did before.”

“They weren’t… they weren’t in control.”

“Yeah like fuck they weren’t, I saw it fucking happen!”

“You can’t just… Ok. Sneeg. Stop. You don’t speak for me, the one who, oh I don’t know, was the one that shit happened to? They were being controlled just like us—“

“No, no, not like us. We were wandering around and not knowing what the fuck was happening. None of us knew what was happening. We just went along blindly. Those things—on purpose—dragged you to that stupid wall and sewed wires into your hands—“

“Shut up, Sneeg—“

“No you shut up! You didn’t see it fucking happen! I saw them and Bitchface literally hold you down until you passed out! They were fucking choking you, they fucking—they nearly fucking killed you with just their hands, that’s not a little suggestion in the back of your brain, that’s on purpose! That is fucking deliberate, that is a thing those machines chose to do! You don’t remember, you weren’t conscious when they fucking stapled you to the wall and strapped your head in—“

Sneeg glanced at Ranboo for a moment in-between pacing as he ranted, and the far away look in their sibling’s eyes shut them up immediately. Ranboo was still present, thank fuck, but they were looking at their brother like he was holding up a knife to their throat.

“Fuck, Ran, okay, okay—I’m sorry. I shouldn’t have… shit. Do you need Charlie?”

“You don’t know when to shut the fuck up.”

“…okay. Okay. I’m sorry. Do you need me to get Charlie?”

“No, I’m fucking fine.” It did not sound like he meant that at all. His voice was less steady than before. “I don’t want him to worry about our… hitchhiker. He’s worrying enough about… well, everything.”

“The fact that it’s here, so close to us is the reason I’m trying to get you to see, Ran. What if it turns on him? What if it does that shit to him when we aren’t there?”

“We will be there.”

“And when it tries anything, we can kill it?”

“Sneeg!”

“You wouldn’t kill it, even if it hurt our fucking brother?”

“Of course we wouldn’t keep them around if they did that, could we at least just… just leave it behind? …wait, no, they couldn’t take care of themselves. If we had to leave it behind, maybe we should…”

Silence lingered for a bit too long.

“We should what, Ran?”

“…Sneeg, I was about to say that killing it would be a mercy.” The Hero laughed. “Doesn’t that sound familiar?”

The Taken didn’t reply.

“We have to help them. I don’t… I don’t want to be on the other end of a mercy killing. I don’t want to hurt anyone anymore.”

“Okay. I’m—are you okay?”

“…m fine. It’s fine. Just. Can you stop acting like they’re any different from us? Please.”

“What do you want me to think then?” His voice was softer than it had been a few minutes before.

“Just assume that they… that they were someone. Just like we were before. And they didn’t… they didn’t do anything on their own, it was all Showfall.”

“Okay. Fine. Let’s assume they were controlled, they didn’t mean to, so on and so forth. Why haven’t they talked yet.”

“I don’t think any of the drones even could talk. Wait, should we really be calling them a drone—“

“Shut the fuck up, Ranboo, we have got to figure out what to do with it. It probably doesn’t even know what is happening, what the fuck does it matter what we call it.”

“It matters to me! Do you want me to call you by your title? Do you want to call me by mine? …No? Then why are we treating them like all they are is what Showfall made them? We had lives before, we were someone, so they must have been too. They might not realize it, or… or act like it, but they used to be someone. They are a whole person, Sneeg. We have to help them, we can’t just leave them behind because that would mean we are giving up on someone just like us, and we cannot give up on each other. They… they would have hurt us by now if they were going to. And Showfall hasn’t found us since… you know, which means there aren’t any more trackers.

…okay, Sneeg?”

“…okay. If it,” he sighed at the look Ran gave them, “if they try anything, we have to leave them behind. I’m not letting a dumbass puppet be the reason we get taken back.”

“If they—ok, whatever, you’re not understanding. You can’t say one of us somehow wanted to be controlled, and they’re a ‘puppet’ but those rules don’t apply to the rest of us—“

“There is not an ‘us,’ Ran! That thing isn’t like us!”

“Guys?”

A sleepy voice shut the two of them up instantly. They had a split-second conversation with their eyes before looking to their brother. ‘We aren’t done talking about this’ ‘You’e absolutely right, so later?’ ‘Later.’ ‘We’re telling Charlie nothing happened?’ ‘Of course.’ ‘Ok good plan.’

“Why are you two fighting? I’m tired, can we please go back to sleep?”

“We weren’t fighting, we were…”

“…talking about plans for tomorrow. And you can go back to sleep.”

“I don’t want to be by myself.” Charlie looked at Sneeg pointedly, who sighed to Ranboo with a playfully annoyed expression.

“Well I guess I gotta go be a teddy bear again.”

“Have fun”

“Absolutely not.”

Charlie punched Sneeg in the shoulder lightly for that, who just giggled in response and led his little brother back to their room.

Which left Ran by themselves.

Some nights, he would join them, but some nights Charlie couldn’t stand to be anywhere near Ran, and the three of them had made a silent mutual agreement that Charlie trusted Sneeg more than he did Ranboo.

…Ranboo was okay with this. He wasn’t hurt by it. He didn’t cry on the nights he slept by himself.

He didn’t wish he could be the one Sneeg comforted sometimes. They were just fine.

They were fine, which is why they went to the living room where their… well. Their hitchhiker? They weren’t exactly a brother, or a sibling, more like a fourth wheel on a tricycle. Or a flyaway hair. Okay, maybe Ranboo needed to get tbr fuck to sleep, alone or not.

But he found himself in the living room, where their hitchhiker slept. Or, didn’t sleep, as they seemed to not need to. They would sit on the couch and stare idly at the tv. That was what had started the whole conversation with Sneeg in the first place; Ran wanted to leave some kind of entertainment for the fourth person so they wouldn’t be made to sit in the dark for hours. Sneeg took this remark as a perfect opportunity to explain all the reasons why the former drone should be abandoned, but Ranboo would have fucking none of it. Maybe the couch potato (shit, he really needed to come up with a name for them—) didn’t seem to sleep, barely ate, and stayed still unless actually verbally told to move, but they were still a person. Ranboo was sure of it.

Their hand wandered up to the fresh scabs where their mask had been. The fourth person had a mask, one that hadn’t been touched. Despite usually staying still, the person—(Ranboo thinks they might just call this person Couch for now. Maybe it’s not accurate, and they’re tired, but it’s something. C, for short.)

C would back away any time the others would try to get near them. And they did in fact try, but despite how creative or sneaky they got, C always ducked away. It reminded Ranboo of the drone who had followed them with a camera, always one step away and never letting the Hero get too close.

The mask turned to Ranboo, who stared back quietly. C hadn’t talked at all, so Ranboo didn’t expect them to suddenly start now. He wasn’t even sure if they understood what was said to them, but Ranboo wanted to try anyways. Better to be polite.

“Do you like the show that’s on? I think it’s called Lucy, or something. I don’t know, Sneeg said it was funny. And it didn’t seem, uh- scary or anything.”

The mask didn’t speak.

“If you want to change it, the remote’s right there, um, I showed you how to use it before. And there’s like, instructions drawn on there. You can thank Charlie for that one.”

…

“I think I’m going to head to bed.”

…

“Fuck it, can I stay here?”

The mask still didn’t speak, but the head hidden behind it tilted a bit at the sudden change in tone. Ranboo took this as an absolute win.

“So I just. I don’t want to be by myself. And I don’t think you sleep, I mean if you just sleep when everyone else is asleep that’s cool, but also if so how do you even? function? on that much sleep? It really isn’t that much but to be fair you don’t do much so maybe you don’t need it. …do you sleep sitting up? And just somehow wake up when we get close? I know, um. Sorry about that, again, we were just worried your mask had a tracker like mine used to.”

Ran laughed nervously. “I think I did convince them that it doesn’t, so that should stop now. If um. If we make you uncomfortable you still don’t have to be touched, it’s, it’s fine.”

Other than the head tilt before, there wasn’t a reply.

“Okay, since. You can’t talk, I’m just gonna… I’ll sit down beside you. On the couch. And if you don’t want me to be that close you can uh- you can leave. Or like, get up, and then I’ll leave. This is the only room with a tv, so I’ll let you stay here, but I can’t tell if you want me to be here or not, so. Okay, sorry, I’m rambling. Just… move if you want me to leave, okay?”

Ranboo waited for a response that didn’t come, then sighed. “Okay.” He kept his hands up and open while sitting down, waiting for a few moments before tucking his feet under himself to get more comfortable. “I’m just gonna stay here, okay? Like I said, just move if you want me to leave.”

The mask had tracked them to where they sat now, but the person—C—didn’t make a move to leave. Ranboo turned their attention to the tv, keeping an eye on their couch partner in their peripheral vision. During a moment of audience laughter in the show—I Love Lucy, they remembered—C turned their head back to the television as they had been before Ranboo walked in.

Seeing as how C (they needed a better name than that—) didn’t speak, this was the closest Ranboo could get to being told “you can stay here.” So they did. A few episodes later, his head was on the arm of the couch and his eyes were closed.

Five turned its attention to the Hero, who was now asleep. He had said it was a person, which was almost hilarious. And the Taken and the Hero seemed to think it couldn’t talk? They had to know it needed to be given permission first: any handler of a Drone or Prop knew that basic rule. It would wait until permission was given: it knew how to obey. It wasn’t meant to speak to a superior unless it was told it was allowed. It would wait.

…in the meantime, it studied its handler, the Hero. The other Actors, their two other handlers, called him ‘Ranboo’ but Five knew that wasn’t his actual label. The Hero was his character in the last show, and so that is who he was. Five didn’t know if Actors had a number, but he had been called the Hero in the script, and so the Hero he will be until the script changes.

It hoped to get new instructions, a new script for itself, something, soon. It was tired of simply watching the Actors go about their incredibly off-script show. It was sometimes told to participate, and since no other superiors were nearby, it had to obey its current handlers. But it was told to participate, to stir eggs, to help clean the kitchen, to attack small webs in corners with a stick with soft spikes on the end. Those sorts of things weren’t it’s usual directive, and so it found itself…

It didn’t resent its handlers. They were doing their best, and they at least knew that they were meant to give it orders. It simply wished they were familiar orders. It wished the Hero had told it to play dead, or play chase, or play camera, or caught, or prop. It would even listen if it was told to power down until needed. At least then it wouldn’t have to be conscious in this boring and unfamiliar set.

.

Y EA I know they probably don’t like tvs. Shhhhhh. I didn’t think about that until like. I had already written the tv part. At this moment it is 55 minutes past th hour and I want these characters to go the fuck to sleep so I can go thr fuck to sleep /lh

And yeah Five only uses “he” for glran. That is intentional. It’ll be talked about and shit later. Something about being put into a role, something about showfall being transphobic, something something I want to go to bed

Powering down = “sleeping” for a drone. Different but similar. I’ll explain how it works later?, anyway The others hav e told Five to “sleep” but it doesn’t understand because it is only ever told to “power down” so it’s like error.sleep_not_found and it stares at them like “bitch you said the wrong. Thing. You’re supposed to know how to control me so you don’t want me to power down I fucking guess” and it’s gonna be really funny after that miscommunication is taken care of.

If you remember the Five Gets A Cold And Wants To Throw Hands With Everyone post, this is wayyy before that. These motherfuckers are fresh out of showfall. Don’t ask how they got a house. I’ll figure it out

I am! Tired! I’m not proofreading this!! Goodnight please give me your thoughts if you have them. I need to know I didn’t sacrifice tbis much sleep in vain /nf /lh (I appreciate words but you are Not required to give them. Love you have a good nigt/p)

[bunnyboy-juice]

blah blah blah blah blah

[actual-changeling]

i don't think it is about jealousy per se.

does it play into it? of course! but their problems began wayyy before diana ever appeared on screen.

after redux, they're in a good place up until christmas carol, which is when their house of cards collapses completely. then we have a front-row seat to watching their relationship be stretched past its limits.

i could go episode by episode, but the main thing is that out of a misguided attempt to ""protect"" her (or because he's too self-centred to notice how badly he's hurting scully with his actions), mulder pushes her away over and over and over.

he ditches her, he's snappy, he goes behind her back, he fights with her when she doesn't immediately drop everything and believes in his theories, he manipulates her into doing his bidding AFTER she already said no, he makes it personal to get her to do what he wants.

i don't think any of that is malicious, most of it is unawareness and his guilt complex flaring up. in his misguided attempts to protect her, he takes her presence and skills for granted and wants to use them while also involving her as little as possible.

understandably, scully is fucking pissed and deeply hurt by that because it shows that mulder does not trust her the way he used to. all the shit she went through have mulder gluing himself into the protector role.

scully can deal with mulder ditching her, she's used to it, he's done it from the very beginning, but in a less disrespectful way.

her reaction in detour when he ditches her vs in pine bluff variant speaks volumes. it stopped being endearing and became hurtful.

even in bad blood, which is giving marriage coupled vibes all the way through, she is not as into mulder's teasing and behaviour as she usually is/could be.

she's somewhat subdued, annoyed, frustrated, (VERY frustrated during the case) and mulder not only interrupts her but constantly questions her view of things, snaps at her when she's trying to save his ass.

scully's issue with diana is not that she's "the other woman".

it's the fact that scully presumably told herself over and over again that mulder is just Like That because he's that way with everyone, including her. that's a knife to the heart because she's his partner! their partnership used to be holy and complete and based on mutual trust & respect.

but okay. they'll deal with it, they always do. they've had rough patches before.

then mulder tells her she's his "one in five billion" and that she's the only one who trusts him—who ever has and will trust him. she takes him by his word.

then two weeks later, diana shows up, and it's NOT about jealousy. it's not about scully falling into the jealous ex girlfriend trope, and the fact that so many people write it as only that is painfully misogynistic.

zero offence to you aimsies, this is entirely about that specific comment writer.

i can't even begin to describe how sexist of an explanation that is. i'm sorry, SCULLY'S behaviour towards mulder? did we watch the same fucking show?

it is NOT about diana. it's about the fact that mulder suddenly starts treating diana like an equal, he trusts her immediately, ignores scully, leaves her behind, pushes her away. diana returns and mulder bans scully from her place as his partner and places diana there instead.

it would have had the same effect if diana had been a man. why is the only possible explanation for a woman's rightful anger "jealousy"? this isn't 19 fucking 50.

mulder behaves like an egocentric asshole for much of season 5 and then keeps going and getting worse—scully is hurt and angry and so done with always quietly stepping aside and choking on her emotions.

she is open about her pain and everyone calls her a jealous bitch who is too stupid to see that she's "overreacting". fuck that. she was right about mulder being a callous ass and she was right about diana being an untrustworthy cunt.

i love all the UST to RST arcadia fics but i look at them and see the most uncomfortable situation ever.

mulder is having fun playing house and it's kinda cute, but scully? if we go with this being their first case back on the x files (and i'll always go with that) they have solved exactly none of their issues.

the "you're making this personal" is a month old at MOST, and scully probably has to struggle with the thought that the only reason mulder is her 'full-time' partner again is because diana ditched him.

(which is funny in a dark and painful way)

after weeks upon weeks of mulder basically being a rude stranger that no longer trusts her—someone she can no longer rely on—he just, what, expects her to bounce back and pretend none of it ever happened? 'cause that's what they usually do?

but this was not usual. this was mulder taking his love confession and twisting it into a knife to repeatedly stab her with. "your science saved me and made me a whole person" yeah great! love that. would be a shame to use it against her a few weeks/months later.

"your science is wrong" after she more or less repeated his speech and the strong implication that he no longer abides by what he told her.

"you've given me no reason here [not to trust diana]" after she did what she always does—giving him the facts. if i start talking about the "you're making this personal" line we will be here for an hour so i won't. we all know it's there and what kinda damage it did.

all that and more. refusing to trust her. ditching her. walking away from her. and, knowing them, they did not come together and talk it out.

so we have scully stuck undercover as his wife in a freaky murderous suburban community and mulder is getting his ya yas out doing what he does.

he touches her and she immediately shrugs him off, steps away from him, and she looks at him with raised hands and a glare that says "back off". early season 5 scully would be having the time of her life but by now she very much hates it.

whenever mulder initiates something personal, she plays along just enough to keep them as a team going but is visibly uncomfortable. we know what it looks like when she's happy and relaxed in his presence and this ain't it.

and these are from the BEGINNING of the episode. it doesn't get any better. it's work and she is treating it as such, she won't risk a case because of her own emotional situation.

mulder is. trying to get them back on track. i can give him that much. but as we see in monday and agua mala, he is STILL keeping shit from her (not giving her an explanation in monday, for example) and comfortable ditching her.

personally, i don't think arcadia is the turning point in their relationship that a lot of fics write it as. doing so is perfectly fine, don't get me wrong, i love reading them.

i just don't see any major progress between one son and arcadia that indicates they actually talked about some shit. playing house with mulder is about the last thing scully wants to do at that point, and yet she does it without complaint.

arcadia, to me, is mostly about two things: mulder being forced to acknowledge that they can't just ignore it & he screwed up and scully (very very slowly) beginning to rediscover how to be comfortable around mulder again. i don't think his frequent jokes are particularly helpful, they don't lighten the mood, they make it worse, if anything.

somewhere between arcadia and alpha, and then alpha and trevor, they readjust, and while cc never showed us (bc he is a fucking coward) i am 100% certain they actually managed to talk.

in trevor, there is none of the tension we see in arcadia. they're comfortable joking and flirting as usual, he does his lovesick puppy impression when she talks about spontaneous human combustion. they're them again.

not perfectly so, that takes them longer with the whole biogenesis thing disrupting their balance again, but we have the baseball date and that episode in general (thank u david for ur service).

anyway this got away from me, but my point is that scully should be allowed to need longer to trust mulder again after how horribly he treated her. she's allowed to hold a grudge and be upset, angry, sad, whatever she wants.

let that woman scream a little, she desperately needs it.

[skitskatdacat63]

I feel like at least several times a month, I have a random insane revitalization of my love for The Smiths. Not that I ever stop loving them, but I'll listen to some song and then suddenly fall into this pit of just deep, intense love for their music again where I can't stop listening to their music on repeat and watching live performances and looking at pics like AAAAAHHHHHH WHY IS THEIR MUSIC SO GOOOD?????? WHY IS IT PERFECT?????? WHY WERE THEY SO GENDER???????

(songs I am feeling intense brainrot over rn in case you're curious: "I Want The One I Can't Have(live)", "Stretch Out and Wait(live)", "You Just Haven't Earned It Yet Baby", "Some Girls Are Bigger Than Others(demo)", "What She Said", "The Boy With The Thorn in His Side(live)"(p.s. I Want The One I Can't Have is Martian-coded to me, pls listen)(also it reminds me of that movie I watched yesterday)

[set-phasers-to-whump]

the motherland don't love you, the fatherland don't love you, so why love anything?

prompt: drowning their sorrows

whumpee: kind of all 3 of napoleon solo, illya kuryakin, gaby teller

fandom: the man from uncle

hey!! this fic is a bit different from my usual stuff, it's much more about the angst and kind of the character study type aspect, so it's not whump in a traditional sense. nonetheless i really enjoyed writing it and i hope you like reading it!! (title from ya hey by vampire weekend)

“Listen,” Napoleon says, after his sixth or seventh glass of Scotch. “Fuck the Central Intelligence Agency.”

Gaby raises an eyebrow at him, takes a sip from her glass, and waits for him to say something else. 

Napoleon, however, seems to have lost his train of thought. “Fuck the CIA,” he repeats. “Nothing but a bunch of extortionists.”

“Yeah,” Gaby agrees, with the tone of one who doesn’t know exactly what it is they’re agreeing with but who is staunchly in support of it nonetheless. “Fuck the CIA,” she echoes, giggling at the English curse. 

Napoleon smiles, then grows serious, evidently having remembered his earlier thoughts. He sets his glass down with a thump. 

“No, really. I mean, God knows I’m no saint, but…look at us.” He gestures in a vague circle that encompasses himself, Gaby, and Illya, all painted with bruises and cuts of varying severity, marks of a severely botched mission and the reason for their present collective inebriation. 

Napoleon then gestures to himself, prods at his fresh black eye with a bit more force than is wise. “Ow.”

“We do not work for the CIA,” Illya points out, speaking slowly to avoid jumbling his words. “Only you.”

Napoleon scowls at him. “Not the point, Peril. My point is…my point is, how often have we looked like this because of an UNCLE mission?”

Illya shrugs, scrunching up his face like he’s actually trying to count. 

Gaby answers for him. “Not very often. Not this bad.”

Napoleon points at her. “Exactly. UNCLE has better intel - well, maybe not this time, but you know - and they actually sort of care about us. Like, Waverly probably wouldn’t threaten me with prison if I was a little cheeky with him. Probably.”

Gaby and Illya both nod. 

“And,” Napoleon starts, more to indicate that he wants to keep talking and less to introduce a well thought-out sentence, “and. Okay. I mean, I’ve never been in the KGB and I didn’t grow up in East Berlin, so I can’t really speak for you guys, but my boss here?” 

He stops, considers his use of prepositions, realizes they’re not actually in the States at the moment, and rephrases. “Back in the US, I mean. Sanders, my boss, terrible man, really, talking a big game about the country being on top of the world like he’s the one who put it there. Anyway. He threatens me with prison pretty much weekly.”

Gaby looks at him intently. “Can he actually send you to prison?”

Napoleon shrugs, does his best to be nonchalant. “Probably. It wouldn’t be too hard to convince whoever it is that needs convincing. I mean, sure, I’m useful as an agent, but at the end of the day I’m nothing but a dirty thief who should worship the ground the CIA…well, I guess the CIA as like, a thing, can’t walk, but you know…I should worship the ground the CIA walks on because they kept me out of prison. Not that working for them is anything like freedom.”

“I understand,” Gaby says, leaning slightly against Napoleon’s shoulder, partly as a gesture of comfort and solidarity and partly because everything has gone a little spinny. She waits until the feeling subsides, then speaks up again. 

“In Berlin, they trap us. East Germany is supposed to be a good place, that’s what they tell you, but then they build this wall through the city. And what are we supposed to do? We can’t go over it, they will kill us. It’s like they don’t understand that it’s the same city on both sides. There’s no freedom like that. I don’t even miss it.”

She falls silent, finishes her drink, pours another, contemplates it for a moment. 

“I do miss it, I guess. Is it possible to not miss your home?”

Her eyes have gone a bit glassy. Unconsciously, she rubs at the fresh red scratch on her cheek. 

“It isn’t like East Germany ever cared about me. Or anyone, really. Do you know how many people they arrest every day? For nothing. They questioned me about my birth father once. Two years ago they arrested my neighbor for…how is it in English? Sed… something. They said he was against the state. He was only a painter.”

“Sedition,” Napoleon chimes in, shaking his head. 

Gaby nods. “That’s it. Sedition.” She pronounces the word carefully, committing it to memory. “And even then I - I do miss it. Even after everything. There is nothing left for me there, no one. Still, sometimes I think about how I can never go back, and I think it should feel like…like freedom, but it doesn’t.”

She leans more heavily into Napoleon and shuts her eyes. She will not cry over this. Over a place that does not care for her in the slightest. Over a place that she is indifferent to and misses in the same breath. 

A soft silence. Gaby scrubs at her eyes. Illya shifts slightly in his chair, keenly aware of the fact that it would seem to be his turn. 

He finishes the last of his drink - he doesn’t know what it is, something Napoleon made that had tasted good earlier but is now horribly bitter. He doesn’t know how many of these terrible drinks he’s had. He should have kept count. He shouldn’t be so drunk. But he is, and so his tongue is loosened. He takes a deep breath and tries not to wince when his bruised ribs protest. 

“My father was not a good man,” he says, and then stops. Napoleon and Gaby both look at him, attentive. He looks away, continues after a beat. 

“He was arrested. Sent to Gulag. He stole money from the Party. I thought, they will kill him. But he is still alive. No one can see him. They will maybe tell me when he dies, I don’t know.”

He pauses, considers, formulates the English words. “He is a criminal. Or else they would have freed him. He is in prison for almost twenty years. Oleg Grigorievich, he says to me sometimes… Solo,” he says suddenly, looking at his partner. 

Napoleon looks back at him with startling intensity. “Yeah?”

“You said that Sanders, he threatens you with prison, yes?” Illya asks, and then barrels on atop of Napoleon’s affirmative answer. 

“Oleg Grigorievich also does this. He tells me I will end up in Siberia like my father if I do not perform well. I love my country, I will die for my country, but…I do not love him.”

Gaby nods seriously. “Fuck Oleg Gri…gorievich,” she proclaims, pausing in the middle of the patronymic to hiccup. Napoleon snorts, and she elbows him. He winces. 

“Your elbows are sharp. And I already have a bruise,” he complains. 

“Sorry,” Gaby apologizes, mostly sincerely. 

Illya looks at them. He is beginning to think he should not have begun speaking, because now he is not sure that he can stop. 

“I am good at my work. KGB needs me. I am happy to work for my country. But…”

“Go on,” Napoleon encourages, leaning forward. 

“We won’t tell anyone,” Gaby adds. “Nobody tells anyone anything.”

“Except each other.”

“Obviously.”

“I was just making sure!”

“But,” Illya continues, and Napoleon and Gaby turn their attention back to him. “You are nice to me.”

He doesn’t say anything else. His face feels hot and his throat feels tight. For a very long moment all three of them just look at each other. 

And then, as if by design (though neither one of them had spoken to the other), both Gaby and Napoleon get up and grab hold of Illya’s hands. 

“What are you doing?” Illya asks, scarcely moving despite their straining. 

“Come sit with us,” Gaby says. 

“Please?” Napoleon adds. “So we can all be miserable together.”

“We are already together,” Illya points out. 

“Come on, please?” Gaby asks. 

Illya heaves another sigh that has him wincing. “Okay.”

He lets them pull him to his feet. For a second he gets horribly dizzy and he has to close his eyes. When he opens them again, he’s leaning against Napoleon and Gaby has her hands on his back. 

“I’m fine,” he says. “Just dizzy.”

“So’m I,” Gaby agrees. “Come on, let’s sit.”

The three of them stumble back to the couch and sink down onto it rather ungracefully. Napoleon ends up in the middle, with Illya curled into the corner beside him and Gaby lying her head on his leg. 

“I’m glad you ruined my car,” Gaby suddenly says, not moving her head from its pillow. 

“What?” Napoleon asks. “We destroyed it. Beautiful car, too.”

Gaby shrugs as best as she can given her current position. “If you didn’t ruin my car, we would not be here now.”

She does have a point, Napoleon figures. “I’m glad we’re here,” he adds. “Working for the CIA is mostly terrible. Working with you is fun. You’re…” He trails off, unsure of or unwilling to fully voice any further words. 

Illya shifts a little closer to them, carefully. “At home I am part of machine. I do not mind this, but with you I am something else. Not a machine.”

“Just a person,” Gaby says. “More free.”

It’s different for her, she knows. Her career as a spy has been with Waverly alone. The only person controlling her is someone she trusts and likes. 

And yet Napoleon agrees. “Yeah,” he says, slowly. “I mean, Sanders is still in charge of me, but so is Waverly, and with UNCLE I’m not a prisoner of the US government, or at least I don’t feel like one. Maybe one of these days I won’t be, I don’t know. I’d work for UNCLE, with you guys, even if it was my choice, is what I mean, I suppose.”

“I am maybe not so free at home,” Illya chimes in, leaning slightly onto Napoleon. “This is how it is, I don’t mind. It is important that there is an order, things like this. But we…we care about each other, yes?”

It takes Gaby and Napoleon a second to realize that they’re being asked a question here. 

“Of course,” says Napoleon. 

“Obviously,” Gaby agrees. 

“Okay. We care about each other. And maybe so does Waverly. This is different. I am…I have…I can be something else here. And that is good too.”

“Well put,” says Napoleon. “Now, I don’t know about you guys, but I’m feeling a little bit too drunk and a lot bit like I’d like to go to sleep.”

“Me too,” Gaby chimes in. 

“Yes,” agrees Illya. 

“And I’m not moving.”

“Me either.”

“I will stay.”

Napoleon nods slowly, closing his eyes when this makes him too dizzy. “Glad we’re agreed.”

They rearrange themselves as best as they can, which involves a lot of shuffling around, grabbing of arms for support, and general wincing. Eventually, they manage to configure themselves in a reasonably comfortable manner, all stacked and tangled together. 

“Goodnight,” Gaby mumbles, voice muffled by the fabric of Napoleon’s shirt. 

“Night,” Napoleon echoes, already half asleep with his face pressed into a cushion. 

“Goodnight,” Illya concludes, head propped up at a slightly uncomfortable angle against the armrest. 

In the morning, there will be pounding headaches, empty glasses and bottles to clean up, and various injuries to check in on. But for now, there is only silence and comfort. There is only them.

thanks for reading! this was a whole different kind of beast to write but i really loved getting to explore their characters like this, i have so many thoughts about them that don't often get to come through in my usual 'beat them up' fics. i hope you enjoyed this!!

[d0d0-b0i]

AUGHH I AM INCAPABLE OF BEING NORMAL ABOUT THEM

[fractallogic]

Me, the last person for the question “so what are your plans for the break?” to come around to during lab meeting today: idk it depends on when my mom dies and how much of the ensuing work absolutely needs to be done by me in colorado, because otherwise I’m either staying here or maybe going to see my dad in CA

Everyone else, who has answered various kinds of “staying here/visiting family/etc”: 😨

Me: don’t worry she has brain cancer!! It’s been like this for like seven months now

Everyone else: 😨😨😨

Me: oh yeah no it’s a good thing, it’s a relief honestly, she’s like, very unaware and close to death at this point

Prof, who has known about this since July or so: it does get that way, you know. *waxes philosophical about death and how college is stressful and important, but in the grand scheme of things, it’s not THAT important*

Prof: so on that note, I guess I should let you go! Have a good break everyone!! Congrats on finishing the term!!

Me: SORRY GUYS 😬

And then the prof and I had a nice very straightforward talk about how yeah, I don’t entirely know if I have to go, but it would be nice if I didn’t need to, and I’m not her executor but yeah it IS kind of weird that her boyfriend of ~5 years or so is, and hahaha well one of many reasons I’ve been mostly estranged from her are her weird decisions about things

But for real I’m very much looking forward to having some certainty about anything soon. Can’t wait to stop traveling as much. Can’t wait to just like, NOT think about death and brain cancer all the time and go down to my normal volume of calls from family members. Can’t wait to stop thinking about my mom all the gotdam time. I am TIRED let me REST

[tittysuckersworld]

vent tw, if you have depression please please just dont interact-

[deviltownresident]

hey it would be fucking nice if i didn't get another suicide threat when i tell you i need space again. just saying

[respondedinkind]

" you don't scare me. " / from Carol Marcus over at @daretr3ks

The way she speaks those words out into the air between them - you don't scare me - causes a hint of amusement to bubble up behind a firm sternum; Khan's clear gaze, which had briefly averted seconds ago, trails back to Carol's own about a second later, accompanied by a hint of a knitted brow and a quiet exhale of breath.

---Assessing her. Wondering. Contemplating, even.

"As long as you don't give me a reason to scare you, Miss Marcus..." That name leaves a bitter taste at the back of Khan's tongue, an oily residue sticking to the roof of his mouth, "...I don't see a reason for why I would attempt to do that."

Even though much people claim he is - Khan actually is not a monster, after all. He can be, if he needs to, but... he'd prefer to not be one, for the matter.

"And since you certainly don't scare me either, we seem to be in agreement here."

Nimble fingers reach for one of the two freshly poured cups of coffee... and then he holds it out for the lady to take, offering it to her.

@daretr3ks