#the lighting in this scene is my villain origin story

[pearlcaddy]

LOCKWOOD & CO. 1.06

[laurenkmyers]

[7yd1a]

Ooooh so now the mirror with nothing on it flickers between different colors of nothing! Great.

[awesometothe3rd]

[sophsun1]

Colouring babylon scenes are a nightmare I mean colouring and giffing qaf in general is a nightmare seeing as it was lit with nothing but a candle and a hope and a prayer in place of actual lighting as they spent the entire budget on the multiple lamps and lighting fixtures for Brian's loft 🤦🏻‍♀️

[skzdarlings]

the rescue ; skz; aotm!hyunjin x reader

original ask: requested by @tattywood: ❛ i'm simply enjoying the view. it's not every day i get to fuck someone so pretty. ❜ would 100000% fit Hyunjin 🩶 + requested by anonymous: ❛ you're mine, and i take care of what belongs to me. ❜ with hyunjin? thank you

pairing: hwang hyunjin/reader content info: artist of the month!hyunjin was inspo here. gangster stuff, reader has been kidnapped and is in a see through nightdress, most violence off page though, bad guy hyunjin who is actually a good guy, arranged marriage, multiple smut scenes, not great communication but gets better lol. smut includes fingering, blow jobs, pussy eating, piv, spanking, light choking, husband/wife kink. word count: 6300 words.

masterlist. part of the valentine’s day stories series. credit to prompts. requests are closed.

enjoy! <3

-

“I’ve already explained,” you say, equal parts frustrated and exhausted.  “My husband isn’t coming for me.” 

The gangster cronies still don’t seem to understand.  You are tied to a chair in their basement (because they are preposterously corny goons, tying you up like a comically silly damsel in a ridiculous film) while they berate you for your husband’s tardiness.    

You have tried explaining, over and over, that Hyunjin is not coming, but they won’t accept that answer.  The fools try in vain to reach him again, but his line leads straight to a dial tone. 

He went radio silent after the initial video contact, when your captors demanded a price for your healthy return. 

Hyunjin was quiet on the call.  Your husband is a quiet man in general, though he knows how to use his charms and work a room, and he has certainly perfected the art of severe intimidation.  When your marriage was arranged, one mob family to the other, you mistakenly assumed you were marrying a monster. 

Hyunjin is very reserved when not conducting business.  He doesn’t engage in any of the more debauched sides of the business, unlike the men in your family.  Evenings at home are silent and still, the penthouse view of the glittering cityscape the only real bustle. 

Maybe that shouldn’t have surprised you.  When he took over his family’s business, Hyunjin altered a lot of their practices, cutting the crueler sectors, opting for illicit crimes of more practical varieties. 

The country is in a political chokehold, government affairs conducted none too differently from the criminal underworld.  The cops are all dirty, the politicians corrupt, the wealthy depraved.  Hyunjin has taken it upon himself to alleviate the pressure suffered by the regular people, the civilians who truly pay the price of a broken system.

In a world with no good guys, sometimes only villains can be heroes.    

You think of his face now, how he certainly looked the part of a villain on the video call.  Hyunjin has a very austere demeanour, exacerbated by his severe appearance: sharp marble features and dark, vicious eyes often further darkened with heavy lining, sleek black hair, scattered scars and tattoos, and the sort of regard that judges at a glance.  He is young, but he has the air of a man who has already traversed the universe and found it wanting.       

You think of his face now, the silent perusal he gave your bound body on that video call.  You are dressed in your favourite nightgown, your underthings partially visible through the light material, but it was not willingly donned.   At the time of your kidnapping, you were attired appropriately for the wealthy wife of a famous gangster.  You were returning from a family visit when your captors intercepted you in transit from the airport. 

Either to intimidate or threaten or just because they could, they made you remove all your jewelry and fine clothes.  They rifled through your luggage and demanded you change into the nightgown. 

Hyunjin recognized the nightdress, realized you must have been stripped, and likely inferred the very worst. 

“Address,” was the only word Hyunjin said.   He ended the call seconds later.    

“Oh, he’ll come,” your captor says.  He points at you with a hand that feels more threatening than a knife.  It makes your terrified heart leap into your throat.  “Or else.” 

“He won’t, though!” you exclaim.  “You’re wasting your time!”

They are not listening.  They leave the basement, slamming the door behind them.

You huff and settle back in your bonds. 

It is only a matter of time before they realize you are telling the truth.  Hyunjin will not waste the money or resources to rescue you.  He has always been respectful of the marriage arrangement, but your husband is not sentimental.  There is a professional distance between you.  His decision will be based in the logic of all his strategies: nothing personal, just a matter of business. 

You sometimes see a different side of him, something buried under that quiet intensity.  He collects fine art and spends hours poring over his favourite pieces, listening to music, losing himself to artistic fantasies.  He always comes back, but you know there are other worlds in his mind. 

Every attempt to bridge the gap has been gently rebuffed, but there have been moments when your husband seems curious about you.  You often catch him staring.  He gets a wistful look that softens his face, even with that shield of make-up.  His eyes are gentle when you talk about your passions.  You never let his quietude deter your friendly penchant for chatter.   He seems more than content to listen.  He remembers everything too. 

You know he finds you attractive, if nothing else.  He has caved on that front several times over, though not right away.  He didn’t touch you on the wedding night, nor the honeymoon.  He left your beach holiday early to return to business, leaving you in a villa with security and his credit card.  It was the first time you realized the material world was no replacement for true companionship.  You missed his dark eyes.

Your family also had expectations.  There would be consequences if the marriage fell through.  You would be blamed, not him.  Worried he would renege on the nuptials, you did everything to try and seduce him. 

He politely rejected you at every turn. 

Just when you were resigned, he arrived home after a job.  It was almost three in the morning when he entered the penthouse.  You have separate bedrooms but they share a connecting bathroom.  You could hear him cursing above the running water. 

You only meant to peek.  The sliding door on your side was partially ajar so you tip-toed over. 

Hyunjin was standing in front of the mirror, shirtless, pressing a rag to his wounded shoulder.  There was a mess of blood streaked down his back, making you gasp at the terrible mosaic of pain, his body littered with violent scars. 

That gasp contained multitudes, for the horror, for his beauty.  His dark eyes were as severely lined as ever, expression intense as he breathed hard through the pain.  Smooth black hair fell across his face when he tipped his head. 

He froze at the sound of your gasp.  His turn was very slow, eyes peeking through the curtain of his short hair.  They captured yours.   

You held your breath. 

Eventually, he straightened, flicking his hair out of his face.  He looked in the mirror and sighed.    

“You can come in,” he said.   “This is your home too.” 

You slid the door open, just enough to squeeze through.  Your attention was utterly transfixed on his bleeding shoulder.  You could see the wound was a thin stripe.  It was not deep so stitches were not necessary, but it was slightly out of his reach as it sloped towards his back.

“Oh, Hyunjin,” you said, thoughtlessly taking the rag right out of his hands.    

In spite of the violence that raised you, or maybe because of it, you can’t stand to see suffering.   You and Hyunjin have had that in common from the start.  You were quick to help him clean the wound, wordlessly wiping all the blood then applying cream across the clotted cut. 

He flinched when the stinging cream made contact.  You went to apologize but your words evaporated when your eyes met through the mirror.  You were surprised to find him already looking at you, that expressive gaze as thoughtful as ever. 

“How did this happen?” you couldn’t help but ask, eyes rivetted to his reflection.   “You – you have people to protect you.”  You managed to rip your gaze away, looking at your task, feeling hot in the face. 

“I do,” he said.  “But I’d never ask someone to do something I’m not willing to do myself.” 

This did not surprise you to hear.   It is obvious that Hyunjin cares very deeply about the wellbeing of other people.  It is a fact known to few.  It aggravates you at times, but his reputation does not seem to bother him.  He would rather people think him a monster while he secretly does good rather than be praised in public while cruel in private. 

You have never known another man like him.  Looking at that scar that night, the realization truly struck you. 

Your fingers began to tremble where they brushed his bare skin, your eyes widening as you looked at the scar and many others.  If something happened to him, what would become of you?  Certainly, as his widow, you would be financially sound, but what did that matter?  This world would lose something irreplaceable if it lost Hwang Hyunjin.  This penthouse could be brimming with silver and gold and it would be empty, worthless. 

Tears in your eyes, you succumbed to desire, kissing him very gently on his hurt shoulder. 

“Hyunjin,” you said, your eyes closed, lips grazing his skin as you spoke.  “Please make sure you always come home, okay?” 

He did not answer at first.  When you lifted your eyes and looked in the mirror, those dark eyes were so enflamed that you were surprised nothing caught fire. 

“Hyunjin?” you said softly.   

“You mean that,” he said, not quite a question, more like a realization. 

“Of course,” you replied. You looked at his scarred back again, let your fingertips brush down the length of his spine.  It made him stand a little straighter.  “Have you ever known me to lie?” you asked. 

He finally turned around, looking at you with an long-engrained wariness, but also a hunger.  He was a starving man presented with a banquet, but one who did not easily trust when sitting at someone else’s table. 

“You’re a smart woman,” he said.  “I know that.  And I know that you’re – good.” 

Good was an exhale, like the word was too heavy for his tongue.  You realized that his wariness was less suspicion for you than hesitation regarding himself.  He was only starving because he though himself undeserving of the meal he wanted. 

“You’ve seen – and done – many bad things tonight, haven’t you?” you asked. 

Having the full force of his gaze was overwhelmingly heady.  You remember how it made your heart race like you were being chased, your breath catching over and over until you were almost panting. 

Arousal struck quickly, a sensation like you never experienced before.  You thought you understood attraction, but not until that moment when he released a breath, so close to your face, and you became truly aware of his proximity.   Of him, of all that he was, all that he did.  His character, his hidden depths.

Your husband. 

It made your racing heart thunder something fierce, your blood pumping hotly, throbbing places you did not know were so sensitive. 

You desperately wondered what was on his mind.  The gears in his head were spinning and whirring, delaying his response.  Was he feeling the same tension?  Were his thoughts the same realization?

 My wife.  

“Yes,” he finally said. 

“Is there something I can do to help?” you asked.

His tattooed hand cupped your head, tilting it just so.  It made your lips part with a gasp, eyelids heavy with anticipation for a kiss. 

He took his time looking at you, like he was scrubbing all those bad memories away, replacing them with the flustered look on his aroused wife’s face. 

“Yes,” he said again, and kissed you for the first time. 

You were so glad he rebuffed your previous half-hearted advances, clumsy seductions made out of obligation rather than desire.  It was so different to that kiss.  You would not have known how to even ask for a kiss like that.  You never knew what you were missing. 

Your quiet husband and his multitudes.  All that simmering intensity, hot just below the surface of his icy demeanour, burned right through his skin.  His kiss was ravishing, entirely possessive, like he wished to take your whole essence into him and hold it forever. 

He walked you backwards.  With a snap of his wrist, he slid the door open the rest of the way, so sharp that it tried to bounce back.  He continued onward, kissing you until you were dizzy with it.   

He picked you up just to put you on the bed himself.  Your kiss separated only then as you landed with a bounce and a breath. 

He loomed over the edge of the bed, this man who was both stranger and husband, hero and villain.   He looked at you like he already loved you.  He looked at you and saw the reciprocation.  You had fallen for him without realizing you had ever even stumbled. 

He ran his hands through his hair, the sleek black locks fluttering back into place.  His eyes were still rivetted to your face, to your body.  You were wearing the nightdress you are wearing now.  It is why it became your favourite. 

He looked down at you, the material translucent enough to see the details of your body.   It broke through that last layer of ice.  He surrendered with a choked breath. 

He unclasped a holster on his thigh, dropped a knife that was hidden in a pocket.   Once unarmed, his hands went to his belt.  You watched those nimble, efficient fingers, swallowing hard.   You were aching to an embarrassing degree, undoubtedly obvious in your desires.  No one ever warned you it would feel like this, just being looked at, never mind touched.

Then his belt was on the floor and he touchedyou for real.   His calloused hands moved up your thighs, pushing the nightdress up and out of his way.  He climbed on top of you, swift as a feline, mouth descending onto yours with that same desperate hunger as before. 

Recollection makes you crave another kiss.   You think you will always be starving for more. 

“Hyunjin,” you whispered, hands on his face, his shoulders, down to his chest. 

He took your hands and laced your fingers with his, pinning those hands to the bed.   He kissed you again, long and slow.  It was all more sensual than desperate.

His voice, however, was desperate when he begged, “Let me make you feel good, please.”  He kissed down your face, your jaw, your throat.  “Please, my wife.”  He kissed further down still, through your nightdress, tracing the curve of your breast with his tongue, wetting the material and awakening every nerve beneath it.   “My wife,” he repeated. 

“My husband.”  The words left your lips in a dizzy, delirious whisper.   

It was all the confirmation he needed.  Those deft and skilled hands, so quick to assemble weapons and pull triggers, applied themselves with a startling gentleness.  He took you apart and put you together with the same efficient ease.   

He hooked his fingers in the only material between him and his desire, tugged it out of his way.  His fingers went to you, slipping through all that wetness.  Those intense eyes rolled back even though it was just his fingers inside you, then he closed his eyes like it was too much, and it seemed he had to temper himself, murmuring nonsense as he let his fingers sink into you. 

He kissed you again, drinking down every sigh and gasp and moan while he fucked you with his long fingers.  It was like he could taste your pleasure, like he was trying to get drunk on it, every noise you made filling his mouth.  He gave them back and brought you over a peak, first with his hands, then with his mouth.  He laid between your legs and put your thighs around his head, losing himself entirely in you. 

He did not remove a single article of your clothing nor his pants, not that first time.  He simply held the material to the side as he unzipped and finally got inside you.  It made your whole body keen, coming to life like it never had before.  You forgot all your sensibilities and let every wanton sound and action loose.

He responded in kind.  His kiss tasted like your pleasure, his heart pounding as fast as yours where your chests pressed together.  You were careful near his injured shoulder, fingertips dodging scars.  Your soft touch made him whimper, this powerful man entirely undone by a few caresses. 

His skin was hot and he worked up a sweat, but his stamina seemed endless.  He always wanted more. 

You fell asleep tucked in his arms, content to believe the walls had crumbled.   However, they revealed themselves in the morning light, as concrete as ever.  He slipped away and left a note to excuse his absence as he was called away to business.   You thought about phoning or messaging him, but those lines were not always secure, not for such intimate conversations. 

When he returned a few days later, he hid behind those concrete walls, but too much had changed.  There was now an awareness of your proximity and your distance.  The lack of intimacy was not called into question before, the absence of something being a nothing.  But now that nothing was something, or had been something for a moment, and it made you both very aware of how it was now missing – and anticipating always when it might again appear.

He tried very hard to keep away, to stay cordial at best, his habitual quietude even heavier than before.  But while his silence was significant, so was his glance.  Every time you turned around, he was already looking at you, a longing in his eyes and a thought on his lips that he never dared to speak aloud. 

You granted him some distance for a time.  When it became abundantly obvious he was holding himself in check, you realized that your own vulnerability was required to bridge the gap. 

One night you crossed through the bathroom, slid open the door on his side.  You found him at his desk, dressed down in a white dress shirt and pants.  His blazer was discarded on the floor, his face still made up. 

He stood quickly when you entered, though he didn’t say anything. 

It was strange to imagine this man would need any reassurance, but you felt that was the case.   His fingers fidgeted at his sides, his roving eyes studious.

You said nothing.  You approached him, laid your hands on his chest, and gently guided him back into his chair.  He sat slowly, his eyes on your face the entire time, even when he had to tip his head back to peer up at you. 

You ran your fingers through his hair.  When you entered the room, his face was tightly screwed in an expression of aggravation, but all those harsh lines softened as you traced a thumb down the sharp slope of his cheek. 

There were some wipes on his desk.  You took one and began to carefully remove that shield of dark make-up.  His hand lifted but not to stop you, simply to rest his palm on your waist.  He began to really touch you, feeling the shape of your body through your robe as you helped him come back to himself. 

“Hello,” you finally said, looking at his bare face.  Still impossibly beautiful.

“Hello,” he replied. 

His fingertips dipped towards the hem of the robe.  Before he could distract you with your own pleasure, you sunk to your knees in front of him.  This startled him, his hand frozen in the air as you fit yourself between his open knees. 

He caught your hand, his reflexes fast, before it could reach his fly.   You could see he was already affected, a heavy bulge in the black material making your mouth water and core tighten. 

He squeezed your hand and you looked up at his face.   He tipped his head, blinked rapidly, an expression of mild confusion.

You took your hand back and unknotted your robe.  The silk fell from your shoulders and down, sliding like water right off your body.  You were completedly naked underneath. 

It clarified everything, his confusion gone, replaced with surprise.

“You—” he began.  It was interrupted when you put your head in his lap, resting on his thigh.  You led his hand to the back of your neck and kissed him through his pants.  It made his fingers clasp tighter around you.  

“Please,” you said. 

He would never deny you anything.  Not the smallest gift nor grandest gesture.  When you started a new charity to further your combined philanthropic efforts, he spared no expense in aiding the endeavour.  You shared passions, and now you shared this.

He was stiff at the start, but gradually let himself go lax in his seat.  His hand kept a steady grip on the back of your neck, not guiding but holding, like he thought you might disappear otherwise.  He murmured your name, letting his head fall back as you worked him in your mouth. 

You intended to make him finish like that, seeking nothing for yourself at that precise moment.  He had other ideas, needing more of your shared pleasure to take him over that brink. 

He lifted your face, adjusted his pants, and was on his feet in a matter of seconds.  That hand on your neck dragged you up, up, up until your naked body was pressed against his clothed one.  He clung to you needily, claiming your mouth in a wanting kiss. 

His hands moved over you, every new inch of skin making him moan as he walked you towards the bed.  The kiss only broke when you both sat down, his lips against yours as he breathed, almost smiling, “My pretty wife.”

“Hyunjin,” you said, shaking your head, feeling suddenly shy just because of a simple compliment. 

He did not allow you to curl into yourself with any shame.  When you tried, he seized you, pulling you onto his lap so you straddled it.   His eyes moved up and down your body, hands following, from your thighs to hips to waist and up. 

 “What are you doing?” you said, laughing helplessly when he kissed somewhere ticklish on your throat.  The sound made him smile, even softer than before, though it turned a little wicked as his mouth went lower. 

“I’m simply enjoying the view,” he said, then wrapped his lips around the stiff peak of your breast, ran his tongue up and over.  He licked and kissed back up to your mouth.   “It’s not everyday I get to fuck someone so pretty.” 

As he said this, he opened his pants again, eyes on yours as he grabbed your thighs and moved you so he could thrust up into you.  His hips moved with a slow roll, letting you adjust to him.  It had been a little while, and this angle was different.

And Hyunjin is not small.  Your husband is built in perfect proportion, his body a long, hard, slender build – everything inside you at that moment was no exception.   This angle made you whimper, clinging to him like  he was a life preserver in a storm.  The roll of his hips kept coming like waves and you were sure you would drown otherwise. 

Your arms were around his neck, his graceful but strong hands digging into the meat of your thighs as he fucked you.  He felt impossibly deep, every upward stroke feeling like it was bursting past something, pushing everything inside your body up to your throat. 

You swallowed again and again, the taste of him still on your lips, the feel of him inside every inch of you.  You clenched and tightened involuntarily, just pure animal reaction, and it made him moan and find all those sweet spots to make it happen again.    

“Help,” was your somewhat nonsensical request, blurted in the midst of some moaning babbling.

Fortunately, he was and is a smart man.  He understood.  He clasped you tight to his body and fell back on the bed, thrusting up into you with sharper, more focussed determination, faster until you were weeping on his chest, delirious with pleasure.  His shirt was unbuttoned and you accidentally ripped a few buttons right off, trying to press your face to bare skin. 

“Yes, yes, yes,” you said as you tumbled over a height you never reached before.  You never knew you could come just from that, stimulated somewhere so deep inside you, but it made you come undone in his arms. 

He watched you unravel and it made him follow, clinging to you as he just barely pulled out before coming between your dripping thighs.  It was all so messy and wet, your legs trembling, but it felt so good that it hardly mattered. 

He caught his breath, then looked at your face just lose that breath again.  He moaned and dragged you in for another kiss.

Then you were on your back, the night far from over. 

That second night is the one that truly opened the door to more.  Though your husband can be reticent in other regards, he is not quiet when he is inside you.  You have come together again and again, a conversation with your bodies as you look for pleasure in a dangerous world.   You always find it, tucked in the protective circle of his arms, wrapped around every inch of him. 

You have been out of his arms for too long.  Your visit to your family grew tedious before long.  Your home is with Hyunjin now and you were eager to return. 

Now it seems you may never see it again.  You may never see him again. 

No.

Just like the night when you took control for yourself, you must take control now.  You realize if anything is to happen, then you must take the reins of your own rescue.  You would not want Hyunjin to compromise himself or his important business.  You know if something bad happened to you, it would weigh on his conscious, even if it was the better business decision.  You must eliminate the need for choice. 

It turns out, comical rope bindings are truly best suited for silly movies.  When the men come to check on you again, you have slipped free of your bindings.  There was an array of weapons in the room, so carelessly disposed because the assailants never assumed you would get free – or, if you did get free, that you would not know how to use them. 

It is true, you do not like violence. 

That does not mean you do not understand it. 

You leave the two men unconscious in their basement.  Unfortunately, you cannot find your suitcase and you do not want to hang around, so you venture outside in your nightgown.  You are debating your next move when a car pulls into the driveway. 

You back away quickly, raising the gun you stole as more men get out of the vehicle.  You only stay your hand because you recognize one of them, though it takes a second to place him as one of Hyunjin’s lieutenants. 

Then Hyunjin emerges.   You have seen your husband before and after a confrontation, but never during it.  If you thought he was an intimidating figure in the aftermath, he is all danger and darkness as he storms up the driveway now.   There is such an energy radiating from him, it makes you stumble and forget yourself entirely. 

Then he stumbles, recognizing you.  You are both startled, staring at each other with the gun raised between you. 

He looks nowhere but your eyes. 

“Hyunjin?” you finally say. 

“I—”  He looks at you, the gun, the nightdress.  He shakes his head.  Some of that bravado returns when he says, “I’m here to save you.”

“Ah,” you say.  You slowly lower the gun, at a loss how to reply.  You were so resigned to the idea this was all still business.  The reality of your husband risking himself to rescue you from unknown hostiles is making your heart pound.  

In the end, all you can think to say is, “Sorry.  You’re late.” 

That wicked smile crosses his face, his tongue pushing at the corner of his mouth.  He is suddenly nothing but amused, looking at you, then at the house.

“I can see that,” he says. 

He whistles sharply and gestures to the house with a gloved hand.  His lieutenants run past you and charge the door, no doubt heading inside to finish the job you started.        

You turn to watch them go.  In your distraction, Hyunjin grabs your arm.  He is fast, effectively disarming you.  He catches the gun with a twirl before tossing it aside.

It is not the gun he wants; it’s you.

Still holding your wrist, he tugs you into him.  You throw your arms around him.  The hug is surprisingly chaste, his face in your neck as he squeezes you like it is the only thing keeping him alive and standing.

“Are you hurt?” he asks. 

When in his arms, it seems impossible to consider you could ever feel any pain. 

You shake your head, daring to kiss his cheek.  He turns his face to yours, your lips close enough to brush in a swipe. 

“I’m all right now,” you say.  “Sorry I beat you to the punch.  I – I wasn’t sure if—”

His brow crinkles.  That gloved hand goes from your wrist to your chin, seizing it between thumb and forefinger.  He tips your head so he can look at your face.  He always regards you like he does one of his masterpieces, like he can never get his fill, like there is always something new to find.  He is enchanted every time. 

“You’re mine,” he says.  “And I take care of what belongs to me.” 

You gasp when those fingers go from your chin to your throat, just enough to pull you in that last breath of a space.  He kisses you there in the sunlight, utterly shameless. 

“Do not ever doubt that,” he says.  His eyes are soft with his affection, but his voice is hard, skirting the edge of a threat he would issue an adversary.  It makes you tingle from head to toe.  “Do I need to remind you?” 

You never actually answer.  You are not sure if your answer would have made a difference, as Hyunjin is determined to show you the very second you are home. 

You reach the penthouse. There is no time to shower or decompress once you cross the threshhold.  He sweeps you off your feet, your arms around his shoulders and your legs around his waist.  You are wearing his blazer over your nightdress to preserve your modesty – not that it will last long.

He carries you to the bedroom where so many slow and subtle exchanges took place.  Now, he is not slow or subtle.  He is a force of nature.   He tells you that he held no greater fear than losing you and he tried to keep his distance, but he regretted it the moment he saw you on that video call. 

“You’re my wife,” he says, peeling his blazer off your body.  “I’m your husband.  There is nothing I should be holding back.” 

“Yes,” you say, running your fingers through that smooth black hair.  You shiver as he bunches the fabric of your nightdress, the material spilling over his fingers.   “Don’t hold back,” you say, mouth open against his, stealing his every breath.   “Do whatever you want.” 

He tells you exactly what he wants, using his words for a change, finally letting those walls come down.  He whispers every filthy thought into your ear, between kisses, between bites.   You shiver at every suggestion. 

And so, moments later, he is sitting on your bed.  He arranges you to lay across his lap, facedown in the pillows while he runs his hands down your spine and over the curve of your ass. 

“You’re my wife,” he says.  The first tap of his open palm is through the thin material of your nightdress.  It is truly just a warning tap, just enough to make you bounce.  “Don’t ever doubt me again,” he says, swinging that strong hand a little harder.  

This time a yelp escapes your lips.  You wriggle until he pins you down, a hand on the back of your neck and the other lifting your dress.   He already stripped your underthings, his open palm smoothing down all that bare skin.  

You tingle with anticipation, braced yet still unprepared for the sharp smack he next delivers.  You feel it tingle all the way up to your head, as well as the next one, and the next.   You squirm under his firm grip, groaning his name as your thighs get tense and press together. 

“Don’t say my name,” he says, and smacks you again.  “Who am I?”

“M-my husband,” you say, practically mewling like a kitten when he next brings his hand down.  “My husband,” you say again. 

“And you are—”

“Your wife,” you say, though it comes out almost like a sob, a desperate gasp as he slips his fingers between your thighs and finds a new way to torture you.   With your backside hot and stinging, the pleasure of his hand in that sensitive place feels amplified by a tenfold. 

“Husband,” you say, hips bucking.  His free hand goes from the back of your neck to your lower spine, holding you in his lap as he slowly finger-fucks you.

“Yes?” he says.

You do not even remember what you were going to say, or beg, or plead.  You are overcome with sensation, tingling all over, intensifying the press of his fingers as he curls his fingers into that soft, soft place.  Then you are really squirming, helplessly, instinctively, whining into the pillows. 

“I make you feel good,” he says.  “I take care of you.  You, who are so good, and so smart, but so—”

You cry out when he angles his hand just a little differently.  Your vision swims with stars as he speeds up. 

“So soft,” he says, his own voice going soft, just a whisper as he makes you come all over his hand in a throbbing, aching, desperate wet mess.  “Just for me,” he says in that whisper.  “Just for your husband.” 

“Mmmf,” is all the response you have left in you. 

Your thighs are trembling and your pussy throbbing with aftershocks when he picks you up.  He stands and turns, laying you on your side in the bed.  You are grateful, as your backside still stings, though you suspect he is not done yet.

He strips out of his clothes, tearing through his shirt, leaving the pants in a heap.  He forgets to remove his necklace.  All that silver is cold against your hot skin as he lays down behind you.   You do not have time to linger on it, as he gathers up the hem of your dress and adjusts himself behind you. 

He has taken you many times, in many ways, many positions.   When you are on your hands and knees, he is overtaken by a primal urge, your hips as leverage in his hands as he pounds into you like it is a chase.   When you are on your back, he sinks into you slowly and deeply, rocking his hips into yours like he intends to fuck you forever.  When you are in his lap, he rolls his hips in steady, needy waves, captivated by the sight of you in his arms. 

He lays behind you now and wraps his arms around you, coaxes your thighs apart.  Your nightdress is bunched every which way, leaving nothing to the imagination, and you feel especially exposed and vulnerable in this position somehow.  Perhaps it is the fact he is the one holding you open, keeping you in position so he can take you.

You let yourself fall into it, fall into him.  You let him tell you, with words and actions, exactly how he feels. 

Before it ends, you change position.  He lays back and you straddle his hips while stripping off your dress entirely.  He keeps rolling up into you, only stopping when you plant your hands on his chest to slow him down.  Then he practically sinks in the mattress, murmuring your name.  His make-up is smudged, his calloused hands rough on your body.  Whatever pains you experienced have been overtaken by his hands, by the smarting on your backside, still tender as you bring your body down onto his again and again.  He has completely claimed you for himself and you take the same in turn. 

“Hyunjin,” you say.  “My husband, oh—”

He kisses your hand, long and hard, like he needs his mouth on some part of you desperately.  Your fingers are curled into his pretty mouth when he comes, his hands on your hips and his cock buried inside you. 

“Oh,” is your final sound before you slump on top of him, skin to skin. 

He rolls you onto your side, though he keeps you wrapped around him, his arms around you in turn.  His hair is already a sweaty mess and you rub your thumb through some of his shadowy make-up, but those familiar dark eyes are gazing at you with so much warmth.   There is no more ice, no more cold concrete. 

“I should let you rescue me more often,” you say with a laugh. 

He doesn’t laugh back, but he does smile softly.  It should be incongruous with his severe appearance, but it somehow comes together, layers of him exposed all at once as he strokes your cheek.

He looks at you like his favourite work of art. 

“You were the one who rescued you,” he says.   “Just like you rescued me.” 

You cannot find the words to reply, so you kiss him.  It speaks volumes, and he replies, kissing back. 

You lose yourself to the sweetness, to the heat, to the passion, to all those things more, knowing there are many more to come with this man as your husband. 

[hopper-wheeler]

there's nothing I hate more than when I'm working on a gifset and one scene is much better lit than the other one so now the two gifs are nowhere near the same quality and I have to throw the whole thing away :)

[ingravinoveritas]

Lovely new article about Michael in Paste magazine. Article is behind a paywall, so here is a transcription (with thanks to the person on FB who transcribed it, and the parts in bold are my own emphasis).

There’s so much to love about Prime Video’s Good Omens. A delightful adaptation of the popular Neil Gaiman and Terry Pratchett novel of the same name, the series is romantic, thoughtful, hilarious, and heartfelt by turns. The story of the almost-apocalypse and what comes afterward, it wrestles with big concepts like destiny, free will, and forgiveness, all framed through the lens of an unorthodox relationship between an angel and a demon whose love for one another is a key to saving the world.

As anyone who has watched Good Omens already knows, nothing about this series works without the pair of lead performances at its center. Stars David Tennant and Michael Sheen—who play the demon Crowley and the angel Aziraphale, respectively—have the kind of lighting-in-a-bottle chemistry that’s the stuff of legend, and their characters’ every interaction conveys both their deep affection for one another and the Earth they’ve made their home. Their romance is the emotional linchpin around which most of the series turns, and their heartbreaking separation in the Season 2 finale is so devastating precisely because we’ve seen how necessary the two are to each other’s lives.

But it’s Sheen’s performance in that final scene that really twists the knife. As Aziraphale’s face crumples following his and Crowley’s long-awaited kiss, the actor manages to convey what feels like every possible human emotion in the span of less than thirty seconds as the angel realizes what he has both had and just lost. The moment is emotionally brutal to watch, particularly after sitting through five and a half episodes of Aziraphale looking as lovestruck as the lead in any rom-com. Sheen makes it all look effortless, shifting from giddy joy to devastated longing and everything in between, and we really don’t talk enough about how powerful and underrated his work in this series truly is.

Though he’s half of the central duo that makes Good Omens tick, Sheen’s role often tends to get overshadowed by his co-star’s. It’s not difficult to see why, given that Tennant gets to spend most of the show swanning around in tight trousers looking like the Platonic ideal of the charming bad boy, complete with flaming red hair and dramatic eyewear. Tennant also benefits from Crowley’s much more sympathetic emotional arc. I mean, it’s hard not to love a cynical demon with a heart of gold who’s been pining after his angelic best friend for literal millennia even after being cast out from Heaven. Of course, viewers are drawn to that—likely a lot more easily than the story of an angel who’s simply trying the best he can to do the right thing as he wrestles with his role in God’s Ineffable Plan. Plus, let’s be real, Tennant’s sizeable Doctor Who fanbase certainly doesn’t hurt his character’s popularity.

As a performer, Sheen has a long history of playing both real people (Tony Blair, David Frost, Brian Clough) and offbeat villains (Prodigal Son’s Martin Whitly, Underworld’s Lucian, the Twilight Saga’s Aro). In some ways, the role of a fussy, bookish angel is playing more than a bit against type for him—Gaiman himself has said he originally intended for Sheen to be Crowley—but in his capable hands, Aziraphale becomes something much more than a simple avatar for the forces of Good (or even of God, for that matter). With a soft demeanor and a positively blinding smile, Sheen’s take on the character consistently radiates warmth and goodness, even as it contains surprisingly hidden depths. The former guardian of the Eastern Gate of Eden who gifted a fleeing Adam and Eve his flaming sword and befriended the Serpent who caused their Fall, Azirphale isn’t a particularly conventional angel. He enjoys all-too-human indulgences like food and wine, runs a Hoarders-esque bookshop that never seems to sell anything, and spends most of his time making heart eyes at the being that’s meant to be his hereditary adversary.

Given the much more difficult task of playing the literal angel to Tennant’s charming devil, Sheen must find a way to make ideas like goodness and forgiveness as interesting and fun to watch as their darker counterparts. It’s a generally thankless task, but one that Sheen tackles with gusto, particularly in the series’ second season, as Good Omens explores Aziraphale’s slowly evolving idea of what he can and cannot accept in terms of being a soldier of Heaven. His growing understanding that the truth of creation is colored in shades of grey and compromise is often conveyed through little more than Sheen’s deftly shifting expressions and body language.

Our pop culture consistently struggles to portray the idea of goodness as something compelling or worth watching. Explicitly “good” characters, particularly those who are religiously coded, are frequently treated as the butt of some sort of unspoken joke they aren’t in on, used to underline the idea that faith is a form of naivety or that kindness is somehow a weakness. For a lot of people, the entire concept of turning the other cheek is a sucker’s bet, and believing in something greater than oneself, be it a higher power or a sense of purpose, is a waste of time. But Good Omens is a story grounded in the idea that faith, hope, and love—for one another, God, and the entire world—are active verbs. And nowhere is that more apparent than in Sheen’s characterization of the soft angel whose old-fashioned waistcoats mask a spine of steel and who refuses to give up—on Crowley, on humanity, or on the idea that Heaven is still something that can be saved.

Though he and Tennant have pretty much become a matched set at this point (both on and off-screen), Sheen’s performance has rarely gotten the critical accolades it deserves. (Tennant alone was nominated for a BAFTA for Season 2, and Sheen was categorized as a supporting actor when the series’ competed in the 2019 Saturn Awards.) But it is his quiet strength that holds up so much of the rest of the show around him, and Sheen deserves to be more frequently recognized for it. That he makes it look so easy is just another sign of how good his performance really is.

I love this so much. The thoroughly well-deserved praise for Michael's incredible performance as Aziraphale, but also that Aziraphale and Crowley's relationship is specifically described as a "romance." And of course, the first sentence of the last paragraph that acknowledges how much Michael and David are indeed a "matched set" that cannot (and should not) be separated...

[raven-at-the-writing-desk]

The Current event makes me smile since it kind of confirms a headcanon I had that the Great Seven have animated movies based on them. Makes me wonder about the plot of the movies

Disney should get on the Twisted Wonderland AU Animated Remakes. What is Ursula was a good witch, what if Scar was right to take the throne and did he take it from Mufasa? (Or whoever is the stand in for him)

The Evil/Beautiful Queen...actually GOOD?

Yeah, it makes sense! Since the Great Seven are historical figures and the stuff of legends, surely there would be popular media made in their image. It’s like how the Disney fairy tales borrow from stories in the public domain or how there are historical retellings and reinventions (Hamilton, anyone?).

I believe TWST has mentioned films based on their own stories and history before too, but purely in the animated sense rather than live action. In book 3, Ace and one of the Atlantica Museum guards talk about an animated movie based on the tale of the mermaid princess and her prince; this movie is said to have come out ~30 years ago, which corresponds with Disney’s animated The Little Mermaid. Ace compliments the movie’s soundtrack too way to stroke your own ego, Disney/j.

Later on in Tapis Rouge, the characters discuss other films based on the Great Seven, including one Queen of Hearts movie. A Sea Witch movie is also mentioned; in it, she “goes gigantic” and also sings as she brews potions. The Octatrio quite enjoy this particular film.

(Side note: Another anon once suggested to me that people probably also write fanfics of Neige and Vil since they’re celebrities… Think like “My mom sold me to One Direction?!” Wattpad kinds of fics, but replace One Direction with Vil or something. You can read those post here!)

It’s… interesting this event specifically has Vil promoting a live action adaption of an in-universe animated film about the Beautiful Queen—an animated film which was the first full-color animated movie AND it originally released close to 90 years ago. They also reference the funding issues that Disney suffered while producing Snow White + inviting bank employees in to preview the movie to acquire more investments, stating that the studio that made the animated Beautiful Queen experienced the same. The in-game live action is even slated to come out “NEXT YEAR”. They’re not being subtle here with TWST’s references to their own version of the irl Disney Snow White (the live action is coming out in 2025, the OG is also almost 90 years old, etc.). I wonder if the EN server will actually get Tapis Rouge around the time of the irl release of Disney’s live action Snow White as part of a promotional campaign? 😂

UPDATE: There are even more not-so-subtle references to Disney animations in part 4 of the event, including discussion of cel animation, rotoscoping, adding blush to the characters, and how Disney brought in real animals/observed the “real thing” to help with animating similar scenes or subjects. They also cheekily say that most animation nowadays is CG 💀

I know some books under Disney publishing try to show alternate tellings or show the villains in a more sympathetic light, but I don’t know that they would ever commit to fully animating a film like that. It definitely would not happen in the style of traditional animation, Disney no longer seems well-equipped to handle that task 😔 I feel like it would also be pretty niche or might not get overwhelming positive reception with recent audience calls for “true bad guys” instead of twist or sympathetic villains (though I’m not sure what percentage of people watching Disney actually have this opinion).

I do wonder how those “AU” films would work though…? It wouldn’t be as simple as suddenly turning the G7 into “good guys”. The scenario and other characters would also have to drastically change. TWST doesn’t necessarily make the original “good guys” “bad” in a world where the villains are historical figures; we still hear plenty of positive or neutral stories about the achievements of the mermaid princess and other Disney heroes.

There are also times when the same story diverges into multiple separate stories that seemingly have no connection to one another. For example, there is a story where a princess marries a street rat (clearly referencing Aladdin) and they live happily ever after in spite of the difference in their social statuses. However, there simultaneously exists a story in which the Sorcerer of the Sands saves a princess from being deceived by a fake prince (also referencing Aladdin). The same goes for the mermaid princess (Ariel)—there is both a story referring to a “mermaid princess” who married a human prince and also a different story (clearly still pulled from the same film) about a mermaid who made a deal with the Sea Witch to find true love but broke her contract in the end.

Very cool idea, just not sure where it would lead or it it’s feasible or worth it monetarily for Disney.

[reuben-7991]

Octavian’s treatment is one of my least favorite things about HoO because it isn’t his character, it’s his lack of one.

We COULD’VE had an excellent character who was a look into what could truly go wrong with blind devotion like Octavian’s, drawing an excellent parallel to Luke’s blind hatred in the original series (Percy even says Octavian reminds him of Luke).

We COULD’VE had a fantastic contrast into a follower’s descent into insanity after making empty promises of power whilst under the influence of a massively elder being, thus leading to said follower’s death.

What makes me especially mad is that Octavian has no backstory. This is a problem with a lot of Roman characters, but Octavian especially. He doesn’t even have a last name. All we know is:

- He’s a legacy of Apollo.

- He used to be sane and probably very charismatic, due to Reyna stating she used to have a crush on him in TTT.

That’s it! One of Rick’s gold stars is that his human characters are just that: human. They have motivations and flaws, deeply personal origins and ideals that affect their actions and their outcomes. None of the villains are just plain villains, evil by birth. They have motives to back up their actions (now weither those motives make sense or not, that’s another story, but they’re still there.) There’s Luke, Medea, Lityerses (who is an entire other can of worms), Circe, Loki, Gunilla, Randolph, hell, even Kronos and Gaea. All of them have reasons for the shitty stuff they did. Octavian is a glaring exception. We know he’s power-hungry, but we don’t know why. We know he’s violent, but we don’t know why. We know he hates the Greeks, but we don’t know why. You may argue ‘oh, he’s a minor character, he doesn’t really get a reasoning’ which is just blatantly untrue on both fronts.

1: Octavian is NOT a minor character in the slightest. He has major roles in the plot throughout the books.

2: Him being a ‘minor’ villain wouldn’t have anything to do with his motivation. Chris from the OG series has stated motivation, and he’s way more minor than Octavian.

Another thing is that Octavian’s insanity is played off almost comically. He’s relatively well put together in SoN, only being super dramatic and reportedly blackmailing Hazel and probably other legionnaires, but by BoO he’s absolutely broken. He’s utterly obsessed with being a hero to the Romans, with being Pontifex Maximus, with killing Gaea and almost proving himself to Apollo (who is utterly disgusted by him), but it’s all either framed as ‘hate this guy more plsplspls’ or brushed away to the side.

I’m torn on his death scene, because it’s a good scene overall but too much of it is humorous in my opinion. Between Will calling Octavian an ‘anemic loser’ (which like. what.) and Leo describing his screams as a little girl’s, it seems almost too light for such a pivotal point in the story. Octavian has truly lost himself to madness, ranting and raving and insisting no, HE has to be the one to kill Gaea, HE has to be a hero.

His death is horrific, yet it’s framed as a silly oopsie.

What the fuck.

Overall, Octavian is a shining example of missed character potential. We could have gotten the Riordan special and made to empathize more with our villain, like what happened with Luke or Randolph from MCGA, but all we get is a crazy blond kid, character so shallow he could count as a tide pool. It infuriates me to no end how in a sea of good, properly motivated antagonists, Octavian is the outlier.

It’s a real shame.

[thegayhimbo]

Stranger Things The First Shadow Review

Synopsis: Following a horrific incident from their previous life in Nevada, the Creel family relocates to Hawkins, Indiana in an attempt to make a fresh start and instill a sense of normalcy in their son, Henry Creel. However, Henry is anything but normal, and harbors a dark secret of his own that scares both himself and his family. When a series of gruesome animal killings takes place, attracting the attention of a group of teenage outcasts and a Doctor with his own agenda, Henry realizes his secret is about to be exposed, and is forced into a reckoning that will change the course of his life, and of Hawkins, forever.........

Observations:

FINALLY!!!!

I've been waiting for MONTHS to see The First Shadow. As far back as January, we got tickets and made plans to travel to London specifically for this. Last Thursday (June 20, 2024), we were able to view it on-stage.

Was it worth it? Short answer: YES.

This is going to be divided into several parts. The first bit will detail my experience at the play, and the remaining parts will contain SPOILER HEAVY analysis of the story, the characters, and plot revelations tied directly to the mythology of the show. There's a lot to speculate on where the Duffer Brothers will take the final season from here.

Part 1: My Experience

In terms of production value, this was top-notch. I loved the set designs, from Hawkins High School, to the classic 50s Diner the characters hang out at, to the gothic Creel House, to the cold white rooms of Hawkins Lab, to the hellish landscape of Upside Down, and so on. The 50s aesthetic works well, and there were multiple shots that conveyed the sense I was watching an episode from the show.

The special effects were spectacular. Huge shout-out to the way they choreographed the mutilation of both animals and humans. It actually looked like bones being snapped and limbs twisted around. There's even a disturbing scene where Hopper and Bob are digging up the carcass of a butchered cat, and the prop they used for it looked realistic (combined with dirt and blood for nauseating effect). The lighting also helped elevate the creepiness of it all.

The music was also great. They had a nice selection of 50s songs, but they also brought back familiar themes from the show. One of my favorite musical cues was the use of Philip Glass's "Window of Appearances" which is heard when Vecna's origins are revealed in "The Massacre at Hawkins Lab" (Season 4, Episode 7). They also use it in the climax of this play:

The actors brought their A-game, but the two performances that really stood out for me were Isabella Pappas as Joyce and Louis McCartney as Henry Creel. Pappas does a stellar job combining Joyce's world-weary "I'm sick of everyone's bullshit" attitude with the fierceness that makes Joyce stand out as a character. It reminded me a little of Natalia Dyer's performance as Nancy Wheeler, especially with the "take charge" attitude that both of them have.

As for McCartney, he was the show-stealer. I didn't go into this play expecting to feel any sympathy for Vecna, but the emotional depth McCartney brings to his performance elevates the character to a 3-dimensional complex tragic villain, which makes his eventual fall to evil all the more heartbreaking.

The audience I was with was fully immersed. Most of the jokes got a laugh, there were a few screams when jump-scares occurred, and there was a standing ovation at the end when the cast came out to give a bow. Even during intermission, everyone was chatting happily about the play, and I heard nothing but compliments.

My only regret is, due to a scheduling conflict that day, we ended up missing the first 5 minutes, and they wouldn't let us in the theater until the title cards came up. We did see parts of the beginning on a TV screen in the lobby (and one of the patrons was gracious enough to fill us in on what happened), but I wish I'd been in the theater for the beginning. My advice is GET THERE EARLY if you plan to see it. The theater fills quickly, and they may not let you in at certain points.

The only minor nitpick I have about the quality of the play is there were a few moments I had a hard time understanding what certain characters were saying. This was mostly in the scenes with Henry/One/Vecna when he was either screaming or alternating to his demonic voice. I was usually able to figure out what was going on, but I wish the dialogue had been clearer.

Overall, this was a fun experience, and I even brought back memorabilia from it:

Part 2: Characters/Story (MAJOR SPOILERS AHEAD!)

It's pretty much advertised in the synopsis, but the play takes place in 1959 when Joyce, Hopper, and Bob are in high school during the time the Creel family moves into Hawkins. The story is largely centered on Henry Creel's villain origins as he becomes more unhinged due to the power he possesses. This leads to a series of pet killings in Hawkins that catches the attention of Hopper, who ropes in both Joyce and Bob to investigate and find the culprit. All the while, Joyce is struggling to put on a play at Hawkins High School (i.e. The Dark of the Moon), which coincidentally happens to have Henry/One/Vecna as the main star! :)

These three arcs sound like they shouldn't connect at all, but to the Duffer Brothers credit, they manage to thread them in a way that's believable and engaging. Joyce's exasperated attempts to get The Dark of the Moon off the ground provide some light comedy to what is essentially a grim story, and it was a nice way for the audience to see all the adult characters from the show (i.e. Ted Wheeler, Karen Wheeler, Al Munson, Lonnie Byers, Sue Sinclair, Charles Sinclair, etc) as they were during their teen years.

The investigation of Hopper, Joyce, and Bob into the pet killings hearkens back to the old-fashioned dynamic the Party had in the first season when they were looking into Will's disappearance.

As for Henry/One/Vecna, his arc was well executed and horrifying on so many levels:

The way a young Henry Creel was portrayed in this play was oddly endearing. I mentioned earlier that McCartney brings a lot of emotional depth to the character, and by that, I mean he portrays teenage Henry as awkward, shy, creepy, funny, and even sympathetic at times. He's a kid who doesn't feel comfortable in his own skin, who has a hard time interacting with other people, and has powers that frighten him with the added side-effect of NOT knowing how to control them yet. Victor Creel mentioned to Nancy and Robin in S4 that Henry was a "sensitive child" and it turns out that was meant literally: Lights go on or off (or even explode) whenever Henry's mood fluctuates (making Henry constantly jumpy), he can unknowingly tune into the radio with his powers and mistakes it for voices in his head, he can read the thoughts/moods of other people, he can create illusions (similar to Kali/Eight), and whenever he tries experimenting with his powers, it ends in disaster. In short, he's someone who's terrified of his own shadow, and almost everything in his environment sets him off. At the same time though, there are some relatable qualities to him, such as his love for comics like Captain Midnight (which he eagerly shares with Patty), and there is an internal struggle he deals with for most of the play to genuinely be a good person in spite of the demons (both literal and figurative) that threaten to overwhelm him. He reminds me of Will Byers in some ways, and I am dead sure that parallel between these two characters was intentional on the Duffer Brothers part.

Contrary to what's implied on the show, it turns out Henry had his powers long before he moved to Hawkins. Previously, he lived in Rachel, Nevada until an incident between him and another boy resulted in said boy ending up in a wheelchair. It's ambiguous whether Henry deliberately attacked the boy or if it was an accident (it could have been either one), but it was enough to force his family to move. His parents (particularly his mother) are insistent on pretending everything is normal and that Henry will eventually get better, all the while putting more of an emotional strain on Henry as he tries (and fails) to conform.

We get a little more insight into Henry's parents, and it's not pretty: Victor Creel was already established on the show as a war veteran with severe trauma and PTSD over killing innocents during a raid, and the play depicts him the same way, with the added effect of being so wrapped up with his own issues that he fails to see his own son spiraling. The sad thing is there are scenes indicating he does love Henry (and also defends Henry's relationship with Patty, referring to it as "puppy love") but he isn't able to convey that in a way which makes Henry feel safe.

As for Virginia Creel, I don't know if this was intentional in the narration, but I found her unlikable. Putting aside the unsettling 50s Stepford Wife persona she projected, her treatment of Henry bordered on emotional abuse. She likely didn't intend that, but everything, from her attempts to keep Henry isolated from the one relationship that brings him any happiness, to constantly treating him like a time bomb waiting to go off, to pretending everything is okay when it isn't.........all of this causes whatever mother/son relationship she has with Henry to deteriorate. There's even one nasty scene where she smacks him, though she quickly regrets it when Henry lashes out in anger and forces his mom to witness a vision of herself being covered in spiders when she was locked in the closet by her abusive parents as a child. In some ways, it reminded me a little of the Norma/Norman Bates relationship from the Psycho series (minus the incest subtext) in how unhealthy it is. It was deeply uncomfortable seeing her attempt to force Henry to be something he wasn't just so she could maintain the image that she and her family were perfect. And when she realized she couldn't do that, she finally tried to wash her hands of Henry the moment Dr. Brenner showed up and offered to take Henry into his care ("Lock him up and throw away the key" to paraphrase one of her comments). I get that this is set in the 50s where there's plenty of values dissonance with how parents raised their kids at that time, and there is some context behind why she was scared of her son and his behavior (because there were times Henry wasn't acting okay), but she still handled this situation poorly and contributed to Henry internalizing his trauma and insecurities until they exploded out of him in the worst possible way. It was bad enough that Henry was dealing with something he didn't understand, but she needlessly added on to those problems.

Alice (Henry's sister) is also in the play, but she only appears in a few brief scenes, and sadly doesn't get a lot of characterization beyond being the "cheerful child" in the family. It's implied she knows that something is wrong with her brother, but doesn't look closely at it. Interestingly, they portray her like she's Henry's younger sister, even though the show established that she's supposed to be older (There's a news article in S4 that claims Henry was 12 and Alice was 15 when the Creel murders happened). Other than that, there isn't really much to say about Alice.

The three main characters (Joyce, Hopper, Bob) have their familiar quirks that will follow them into adulthood: Bob is nerdy, smart, good with technology (which comes in handy in their investigation) and the host of a radio show. Hopper is the disgruntled son of the Chief of Police who's trying to make something of his life. Joyce is high-strung, in a dead-end relationship with Lonnie, and trying to find a balance between optimism and pessimism. In a way, I'm reminded of the Steve/Jonathan/Nancy dynamic we briefly got in the S1 finale, with Joyce having similarities to Nancy, Bob to Jonathan, and Hopper to Steve. This was clearly set up as a love triangle between the 3 of them, and I have to question if the Duffer Brothers deliberately did this to foreshadow what could end up happening between Steve/Jonathan/Nancy in S5. In any case, Joyce, Hopper, and Bob investigate the animal killings when they start to happen, and while they come close to figuring out who it is, they ultimately miss the mark and pin the crime on the wrong person (Poor Victor Creel). Sadly, by that time, it's too late, and both Virginia and Alice Creel are dead.

There is a new character introduced named Patty Newby who plays an important role. She's the adopted sister of Bob and was revealed to have been taken in (or stolen as a child, as Henry later claims) by Bob's father, Principal Newby. Despite his misanthropy and awkward nature, Henry takes an interest in Patty, and the two of them develop genuine affection for one another. When Patty auditions for Joyce's play, Henry helps her with her lines (which leads to both of them getting cast as the main leads), and later feels comfortable enough to share his secret powers with her, including giving her a glamorous vision of starring and singing in a Las Vegas show. Against all odds, I actually found the relationship between Henry and Patty to be cute. Not only did it humanize Henry, but the way it was presented made sense: Both of them are outcasts with deep insecurities that they're trying to work through. Patty feels like an outsider in her family and at school due to her race (which isn't helped by people like Dustin's father making disgustingly bigoted comment towards her during class) and her complicated relationship with her adopted dad, who treats her coldly. Since Henry also feels like an outcast in his family, he's able to empathize with her, and both of them try to encourage the best in one another. In a moment of genuine kindness, Henry helps Patty locate her biological mother (who coincidentally is also a singer), and Patty returns the favor by trying to encourage Henry into believing that he is a good person and that there are positives with his powers.

I know some fans will complain about how Patty was never mentioned on the show even though she's supposed to be adopted siblings with Bob, but I'm not bothered by that. Nothing about her existence contradicts anything on the show, and it was nice to see a redeemable side to Henry that proves he wasn't a complete monster to begin with. The only thing that's harsher in hindsight is that, because Patty and Bob were close growing up, and because of Henry's affection for Patty, it makes what he does to Bob in S2 (i.e. siccing the demodogs on Bob) a lot more vile.

Finally, there's Dr. Brenner himself: If there was ever any doubt that he saw Henry and the other special kids like El as a means to an end, this play erases that. He is at his absolute worst here. Manipulative. Cruel. Determined to push Henry over the edge. Egging Henry into murdering a convicted prisoner, even though Henry fights back against doing that, all so Brenner can test him. Hurling verbal abuse at Henry, and then playing up the "Loving Papa" persona in the same way he would do with El years later. It really says something that he is the most loathsome character in the play, and that he doesn't see Henry as a person so much as a tool.

This was already a given on the show, but I still remember fans who kept making apologies for Brenner's behavior in S4 while insisting he really did care about Henry and the other kids in spite of his abuse of them. 🙄 I always maintained those were garbage apologies, and this play only reinforces that. Even though Henry is ultimately responsible for the choices he makes (regardless of the negative influences in his life), there is an argument to be had that Brenner bears responsibility for destroying whatever remaining goodness Henry had left in him until Henry became the cold, calculating monster with a plethora of rage and a deep hatred for humanity to accompany it.

Part 3: Revelations

For a while now, I've held theories that the powers El, Henry, and the other special kids have had were connected to the Upside Down. These theories were even talked about in my reviews for Stranger Things Six, Stranger Things The Other Side, and Stranger Things Suspicious Minds. I've also speculated on the idea that the Mind Flayer might be its own entity, and that Henry/One/Vecna didn't create it so much as gave it a form when he found those black particles in the Upside Down decades later.

This play confirms those theories: Not only is the Upside Down connected to their powers, but it's revealed in this play that the Mind Flayer acted as a malevolent corrupter to a young Henry, which would later lead to him becoming the monstrous Vecna.

At the beginning of the play, there's a flashback to 1943 where the U.S. military was experimenting with a new technology on the USS Eldridge to create a force field to hide the ship from the Germans during WWII. Interestingly, this bit was based on a real life experiment called "Project Rainbow," and the pamphlet I bought gives more details about it:

In the play, the technology caused the ship to end up in the Upside Down, where most of the crew was slaughtered by Demogorgons. The sole survivor turned out to be Dr. Brenner's father, who came back to the real world with altered blood in his system. He ends up dying, but passed on his secret to his son, kick-starting Brenner's scientific pursuits for the military. In other words: Brenner was aware of the Upside Down long before El banished Vecna to it in 1979.

Fast-forward a few years later. Henry is in Rachel, Nevada, playing in one of the caves with a spyglass when he encounters a rogue scientist who worked under Brenner in Nevada. Brenner had spent years attempting to replicate the experiment on the USS Eldridge in Nevada, and one of his scientists had stolen key technology and fled to the caves. When Henry discovers the technology, it transports both him and the scientist to the Upside Down. The scientist is killed, but Henry gets exposed to a malevolent entity (The Mind Flayer) before he is transported back to this world. Just like with Brenner's father, his blood is altered, and so is his personality. Brenner would later be able to track Henry down due to the spyglass he dropped in the caves after his exposure. In spite of escaping the Upside Down, Henry was now connected to the Mind Flayer, who spends the majority of the play acting as a malicious influence driving Henry to kill, and chipping away at his personality bit-by-bit:

It's not really a spoiler to say Henry is behind the pet killings in Hawkins (since he was shown killing animals on the show), but the difference here is the play makes it ambiguous how much control Henry has over his powers and actions. The Mind Flayer certainly uses Henry as a vessel, but there are moments Henry was shown to be capable of resisting it, indicating there was some manner of agency on Henry's part. In some moments, he chose to drive off the monster, whereas in others (like the deaths of Virginia and Alice Creel), he allowed the monster to work through him.

Like I said, these are theories I've held for a while now, so it felt gratifying to see them validated. While Vecna's monologue to El in 1979 implies that he was always a sociopath with powers who acted on his own accord with no outside influence, it's important to note that Vecna in that scene is an unreliable narrator twisting past events to paint himself a certain way to El. Part of it may be that he doesn't want to admit he was a victim of the Mind Flayer and that he made his own choices (Which is true: He DID have choices and the ability to reject the Mind Flayer, which we see in one scene when the Mind Flayer attacks Patty's father, and Henry intervenes on Patty's behalf to save him). Part of it may be that he's been under the hold of the Mind Flayer for so many years that, by the time El meets him, he's come to believe he and The Mind Flayer are one in the same.

Either way, regardless of what happened, there were a lot of elements stacked against Henry that makes me pity him: The Mind Flayer's influence, Brenner exploiting Henry's powers for his own selfish scientific desires instead of genuinely helping him, his parents trying to force Henry to be normal and shove down his issues instead of taking the time to deal with them..............the only positive thing Henry had going for him was his relationship with Patty. Her determination to see the good in Henry and his powers, and her belief that Henry could rise above the darkness gave some brief salvation for him. Unfortunately, that wasn't enough to save him, and the darkness won in the end.

There is a slight change I was okay with: In the show, Henry mentions that he fell into a coma after killing his mother and sister. While that is true to some extent, he actually wakes up a few hours later and flees the house to go find Patty at the school. He encounters Joyce in the basement (after the power gets knocked out) and, in a scene that's both creepy and sad, he acknowledges that Joyce is a good person and warns her that the world will punish her for it while taking away everything she holds dear. There's a dark irony to his words considering he would later be responsible for the disappearance of her son, the death of Bob, and most of the problems Joyce would later deal with on the show.

Following his encounter with Joyce, Henry finds Patty on an elevated stage platform, and begs her to run away with him. She is basically his last hope at this point, and even that is taken away when Brenner manages to track him and Patty down. There's a whole "Good Angel/Bad Devil" exchange that occurs as Patty (the Angel) implores Henry to fight against The Mind Flayer while Brenner (the Devil) snarls that Henry is already a monster and he might as well accept it. All of this cultivates in Henry using his powers on Patty, having finally surrendered to the Mind Flayer's influence, and throwing her from the rafters, almost killing her. Henry passes out after this, and Brenner takes him back to Hawkins Lab, where he will spend the next 20 years as Brenner's prisoner. Patty manages to survive the fall and, thanks to information Henry gave her earlier, she's able to locate her biological mother in Las Vegas and reunite with her. The last act of redemption Henry would ever have.

These revelations help give context to the mythology of the show. They explain what motivated Dr. Brenner for so many years. They explain the Mind Flayer was well aware of this world, and that Brenner was aware of the Upside Down long before El opened the gate in 1983. They explain Henry already had troubling aspects to begin with, and that his encounter with the Upside Down and the Mind Flayer only amplified those problems. They explain how and why Henry became disillusioned, nihilistic, and angry over the next 2 decades, and how he would project that onto his enemies once he became Vecna. They explain why Henry/One/Vecna takes an interest in certain characters on the show, from El (whose upbringing and struggles are similar to what Henry went through as a child) to Will (who shares similar traits with him as an outcast and a nerd) to even Billy (with both of them projecting their rage onto the world), and went as far as to target them. And, most importantly, it explains how Henry and other special kids like Kali and El got their powers.

This does raise interesting questions that I hope S5 will explore more of:

Since Will was kidnapped and taken to the Upside Down in S1, does this mean his blood type has been altered as well due to his exposure to the Mind Flayer? Does he now possess some kind of power similar to El that we haven't seen yet but might be unveiled in the last season?

And what about the Upside Down freezing in time in 1983? Considering the Upside Down remained consistent as a hellish environment (even after El banished Vecna to it in 1979), this gives the impression that what happened there was an anomaly. I still maintain Will's disappearance had something to do with the altered environment, and I have provided theories for it in my review of Stranger Things The Other Side, but it's still a question that remains unanswered by this play.

And then there's Patty: She does survive, and last we see of Patty is her reuniting with her biological mom, but it's also mentioned she disappeared and that Bob (her adopted brother) misses her and plays songs over his radio podcast in her memory. Did Bob ever find Patty following this, or did he die before that could happen? Does she even remember Bob or Henry, or did the fall (which injured her badly enough that she now walks with a cane) cause her retrograde amnesia? Is it possible S5 might bring her back, and she could have some role in reaching out to Henry/One/Vecna? Is she still alive at this point?

So many questions that I'm hoping S5 provides answers for.

Part 4: Themes

It's no coincidence that the play Joyce produces for the school holds parallels to the tragedy of Henry and Patty's relationship. The Dark of the Moon is a ballad about a "witch boy" named John who falls in love with a human girl named Barbara Allen. He is given a human form on the condition that she remains true to him. Through a series of tragic events (including the death of their child at the hands of religiously-crazed townsfolk), Barbara ends up betraying John, causing him to lose his humanity and become a part of the fog from the place he came from.

If we're drawing direct parallels, it's pretty obvious Henry is John, the "witch boy" embedded with special powers who falls for the human girl, Barbara/Patty. The difference is that the "humanity" of Henry is more metaphorical than literal: He attempts to not give into the monstrous influence of the Mind Flayer, and Patty recognizes this and is determined to help him through the love she gives him. However, the key difference is Patty isn't the one who betrays Henry. If anything, she remains a loyal friend and confidant to Henry (even AFTER Brenner tells her that Henry killed his mother and sister) and desperately tries to convey to Henry that she believes in him and that he can fight off The Mind Flayer. Unfortunately, that proves insufficient, and it's Henry who inflicts the final betrayal on Patty, destroying their relationship, and causing Henry to become prisoner of Dr. Brenner at Hawkins Lab. He is the "witch boy" who returned to where he came from.

It should be noted that the ballad this play is based on contains these final lyrics:

They laid poor Barbra by the old church gate,

With the wild, wild rose growin' nigh her,

And witch boy roamed the mountain high,

'Til mountain fog became him.

And then one morn, before the dawn,

The fog rolled down that mountain,

It came to rest nigh Barbara's rose,

and watered there a briar.

The rose and briar climbed the old church gate,

'Til they could grow no higher,

And there they tied in a true love's knot,

The rose wrapped 'round the briar.

And so a witch and human gal,

Had conquered death eternal,

And 'neath the darkness of the moon,

Their love's entwined forever.

Could this be foreshadowing that, as evil as Henry/One/Vecna has become, there is still a chance at redemption for him through Patty? That whatever love he held for her could bring back Henry's humanity and allow him to overcome the Mind Flayer one last time? They did a similar thing with Billy Hargrove in S3 (with the platonic love he had for his mother), and since love is one of the key forces that's been shown to repel the Mind Flayer, it could work again in Henry's favor if he chooses to take it.

However, a lot of this is tied to whether Henry is capable of remorse or empathy at this point, and considering what we've seen on the show, it's a safe bet to say whatever humanity he had left in him is now gone. I'm doubtful that even if Patty shows up in S5, it'll be enough to redeem Henry. There are some things you can't come back from, and regardless of the negative influences he was dealing with, Henry still had choices, and he chose to hurt others.

In a way, Henry's story reminds me of Coriolanus Snow's arc in The Ballad of Songbirds and Snakes: Despite the relationship he has with Lucy Gray Baird, it wasn't enough to cancel out his negative personality traits (narcissism, entitlement, etc) and whatever love he may have had for her isn't enough to redeem him, or prevent him from becoming the tyrant we all know and loathe by the events of The Hunger Games.

Another theme present was the exploration of the adult characters and how the personality traits they had as teens continue well into adulthood. It's been speculated before by various groups of people that, internally, there's a certain point where you stop growing mentally and remain the same age, and that definitely seems to be the case here with some characters. The problem is that while these qualities might have been excusable when they were teenagers, they become less appealing as time goes on:

Ted Wheeler, for example, is depicted in the play as a dumb jock who's clueless most of the time. Fast-forward to the 80s, and he's now an apathetic father who still remains clueless. Not only is this not cute anymore, it's frustrating to his wife and those around him.

Karen Wheeler is depicted in her teens as interested in her youth and beauty and dating Ted BECAUSE he's a hot jock. By the time she's an adult, she's still into that (though she does make more of an effort to be emotionally available to her kids unlike Ted) and her desire for youth and a passionate relationship almost leads her to sleeping with Billy despite the inappropriate age difference between the two. 🤮

Jim Hopper is a younger man with a fractured relationship with his abusive father, and a lot of his motivation is rooted in trying to stick it to his dad and prove that he isn't the loser his father thinks he is. It's why he takes an interest in the animal killings around Hawkins and conducts an investigation similar to how police would do it. It's also why he joins the Vietnam War later (as he would later tell Enzo/Dmitri in S4). Even later becoming the Chief of Police on the show likely has its roots in this. Years later, long after his dad is likely dead, he's still trying to prove him wrong.

Lonnie Byers is depicted as a douchebag, even as a teen, who isn't really interested in making something of his life, who's coasting off other people, and really doesn't have any desire to improve himself. Come Season 1, and is it any surprised he's a deadbeat dad who's divorced from Joyce and still making shitty decisions down the line?

Same goes for Al Munson: The play depicts him as an improv actor who's deeply self-centered, who isn't as good as he thinks he is, and is someone who just annoys everyone around him with his antics. Anyone who's read Flight of Icarus knows he doesn't get any better as an adult, and it has completely wrecked his relationship with his brother Wayne and his son Eddie.

And then there's Dustin's father: "Asshole" is the best term I can use to describe him. He's very belittling and not well-liked (even among his peers), and it doesn't surprise me that Mrs. Henderson (who's also shown to be a cat-lover as a teenager) would eventually split with him and raised Dustin on her own.

There are a few positives though: Both Charles and Sue Sinclair come out of the play as decent people, and Sue is shown to be a loyal friend to Joyce, helping Joyce to get her play organized. I can see why they ended up together, and I maintain both Lucas and Erica are lucky to have them as parents.

The overall point is, like with Henry (who also never really grew up, and is now an angry kid trapped in the body of a 30-something adult), there is a theme that change is a process you have to work on. All of these characters (including Henry) have their own flaws they have to work through, and it is a choice about whether you put in the hard work of overcoming those flaws, or you surrender to them and let them dictate your life and stilt your growth. It's always an uphill battle, and it's never easy, but when the alternative is hurting the people around you, I would argue it's worth the effort for their sake.

Final Thoughts:

While there is some leeway between how events in the play can be interpreted, there is one tiny retcon that was hard to ignore: Henry's age. In the show, it's specifically mentioned in the newspaper article that Nancy and Robin look up that Henry was 12 when Virginia and Alice Creel were killed. However, this play retcons his age to being 14 years old. My guess is this was likely done so that Henry would be a freshman, and therefore able to attend Hawkins High School with Joyce, Hopper, Bob, and the other characters. While I don't mind this retcon for story purposes, it still sticks out like a sore thumb, and I wish the Duffer Brothers would take better care with details like that, especially after what happened in S4 with Will's birthday being forgotten.

There is a pamphlet for 10€ that they sell at the Phoenix Theater that gives more information about the play, its cast, and the central ideas behind the story. You can even see it in the picture above with the other memorabilia I collected (next to the t-shirts I bought). If you're going to see the play, I highly recommend purchasing it. It's worth the money.

Overall, this was a well-written play that I'm willing to accept as canon. I hope the events in this play are referenced in S5, and have a role in how the show's story unfolds. I highly recommend getting a ticket for anyone who is a Stranger Things fan! :)

[a-titty-ninja]

Hi. After following you for so long, I decided to give Senran Kagura a shot. The Video Game, I mean. So, I started with Burst Re:Newal

So I have to ask. How is this story so good? I get it's just Magical Ninja Girls, but how is this story so good?

Katsuragi, the lesbian pervert, has so much depth. She's an orphan who lost her parents. But not to a car accident like she thought. Her parents ran away because they were Ninja who failed a mission and had to commit sepaku. Now she seeks strength to become a leader of the light shinobi, all so she can pardon them herself.

Yomi, the destitute revolutionary, lost her parents in elementary school. They lived in the slums of Japan, unable to feed their daughter. So they sold themselves to slavery, so they could give her a better life. Instead of living lavishly, she takes her money and feeds the slums, working as a villain in the dark shinobi to do so.

I could go on and on with each character, but they're all awesome. (Except for Mirai. Wanting to slaughter your family and friends because you're a late bloomer is kinda stupid.)

And the overall morality comparison between the light shinobi vs. dark shinobi.

Light shinobi, secret warriors who work for the government of Japan and its public, accept only perfection. The only light shinobi are Elite shinobi, warriors that can take on hundreds of regular enemies. They have rigorous training, difficult testing, and high moral standards.

But this is also their downfall. For most people aren't perfect. For minor infractions, one can be excluded and banished from the ranks of the light. Which kinda makes them bad guys.

Dark shinobi, warriors who work for corporations and private entities, accept all who wish to join. For that's their saying.

"Where the light shines on the few, the darkness accepts all."

Which makes a scary amount of sense. All of these shinobi who didn't make the cut for the light, the dark accepts them wholeheartedly, flaws and all. And somehow, this makes them good guys too.

Which brings me to my ask. How does this game about Sexy Ninja Women come up with a comprehensive moral controversy that rivals mainstream media. And makes corruption arcs make sense.

Note: the scene with Hikari, the girl who lacks emotional responses, crying over the (fake) death of Mirai. It's just. Oh my. I was crying too. Like, she loves her friend enough that she just cries involuntary.

What is this game?

im glad you gave senran kagura a shot, its an incredible series that is often overlooked as just some generic ecchi! it was great reading your thoughts and it makes me want to go replay the games as its been a while although i resent you comment about mirai!. senran kagura is a whole package - the lore, the characters and their designs and animations, the style and the music is marvelous pun intended. i love the opening songs for all the games they live in my head and the anime has one of my favorite op/eds in general

i hope you play all the other games too, even the cooking rhythm game (bon appetit) is brilliant! its pretty cool that you can play the more recent games on PC these days and even peach beach splash supports VR! playing the original burst on 3ds with the slider turned to max though is an experience lol - the shinobi arts 🥵. i recommend the anime series too if you didn't check it out yet - the second season is top tier!!!

as for why the fuck this series bangs so hard its because of this genius who loves boobs and action games. this guy didnt want to just make a generic pervy game he fucked around and created a master piece. read his interviews too he is cool as shit. shinobi are cool as shit and senran kagura is just cool as shit.

[sonicjustbecause]

The Sonic 3 Trailer lacks of both spoiler and context, and that is about how a trailer should be. We already know what it is about. We only needed to see few scenes to make sure it might look good (or bad, it depends on what we except).

Now, I've seen a couple of crazy theories I've read and I believe both of them won't happen. I'll explain

Tom getting killed

Won't happens anything different to Tom that didn't happen before. he will be at worst knock out/neutralized and go off screen. Like in Sonic 1 (punched by Eggman) and Sonic 2 (encircled by flames)

Such happening would be the complete Shadow's assasination as character. We as fan won't forgive him and also this would push Shadow in the villains realm.

The past characterization.

Original Shadow (Adventure/Heroes/06) was very tame. There is a video on YT that analyze how Shadow behaves toward the world and underline the lack of destruction and violence in SA2, as opposite as we see in Sonic X and ShtH05.

in Sonic-X they changed slightly Shadow's personality, removing his intellectual and contemplative nature and replacing it with a more brash and violent personality. But even there, they prevented Shadow from killing Cosmo, making him acting like a cat who plays with his prey instead of being efficient (slow pace, talking, missing aim despite the short distance and when the thing failed just giving up on that). Shadow could have act smartly simply killing Cosmo in her sleep. As I say, I think they wanted to save his reputation.

In Sonic Force he indeed killed Infinite's squad. His first kill, most likely. Small fries, while leaving the boss alive, evil and stupid considering the aftermath. They saved Shadow's reputation by making Infinite lame and obnoxious and by not showing his gang at all (so we don't get attachted and we still cheer for Shadow). Sort of telling without actually showing anything.

Similar cases and why those characters have been tamed out.

Lupin III had a super rough star. His author got inspired by underground Western comics of the '60s and the original Lupin III was not a thief and a cheerful anti-hero. Lupin was originally a real godfather, a mafia boss, and despite he was mostly accompanied by Jigen and Goemon (who weren't really characterized back then) he had all underdogs, picciottos and so on under his rule. He did steal, but also he killed innocents, he raped women (includin Fujiko) and did several other hideous things.

Evil protagonists don't last long. They either get overhauled or they die like Light Yagami.

For this Lupin had to be tamed. Lupin killed less and less and more and more only with a reason and was more and more gentle with the innocents, including his main foe. And lastly he just virtually stopped to kill.

He's not the only one, many protagonists were born as unremedable villain and then they have been turned into antiheroes... or even heroes. Villanous protagonists never last long.

Shadow is beloved mostly because of his original personality. I noticed in most fan work, he is characterized the way he was in Sonic Adventure 2/Heroes/06 or Prime. Sometimes like in Sonic X and Shadow 05. Rarely like modern Shadow.

Back to Shadow

"What did you do?"

"What I had to!"

Those lines may be related to anything and everything. They might be related to Shadow's attempt to destroy the world like in SA2.

"I had to keep my promise!"

"What I had to do" suggest me something Shadow did not because he wanted to but for an external obiective. It might be world safety, keeping a promise, preventing the Sun going red giant, anything. Maybe even destroying Metal Sonic (if he appears like some rumor suggest) after Sonic convinced him to join the good side. Shadow has a long story dealing with living weapons.

Shadow stealing Stone's bike

Simply impossible. I already said Shadow's size is comparable to the size of a five years old child, about 1m tall. Stone is a 1,78m tall adult.

How Shadow would look on Stone's bike. It would be good material for the memes. And even if he would be able to ride an adult designed bike, he would be unable to do the Akira thing.

[so-bitya]

Whitewashing in Anime - Soma ft. Usopp

Avoiding "Brown"

Here is an image of Soma comparing his skin tone from the first season of Black Butler and the current season airing now. As you can see, Soma's skin is noticeably lighter than it was in the past. I considered the lighting and took shade from his hand that looks relatively mid tone. However, that's not really a fair excuse if the anime continues to lighten Soma's face this way.

I also compared his skintone from the Book of Circus season which is relatively more recent, and chose images where he's clearly in good lighting. Soma is still noticeably lighter this time around.

Whitewashing is an incredibly common phenomenon that been happening a lot lately in anime, especially with reboots. A great example I can think of off the top of my head is One Piece where they lightened nearly everyone's skin color in the anime, despite some of the cast being characters of color?

(^^^this character is canonly black according to Oda, the mangaka.)

"Oh but Oda gives Usopp pale skin in all his color illustrations"

One, he should know better. Two, if Oda said Usopp would be African in real life, and chose a brown, Jamaican-american actor to play him, then yes, they have been ridiculously disrespectful in how they've been portraying the character's racial features so far.

In that sense, it's actually relief that anime studios in the past weren't afraid of giving their characters darker skin unlike mangakas who were terrified of even the lighest shade of brown.

For instance, I am happy that A-1 studios made Soma, Agni, and Mina, who are all the same race, slightly differ in skin tone. Mina's skin is cooler toned compared to Soma and Agni's warmer hues.

HOWEVER, and other fans pointed this out, Soma and Agni's skin leaned so far from being golden brown to straight yellow in many scenes, that they were walking around like they have jaundice which is so... Of course A-1 studios found some way to mess it up ¯\_(ツ)_/¯

Another thing, do you guys honestly think being accurate to Yana's art style is always the best thing to do in adaptions? Angela Blanc, the secret villain in the anime original first season, pretends to be an abused maid and gets whipped in her very first scene. And according to Yana's concept sketches, she was originally brown. I'm actually glad the anime whitewashed her in that instance.

I'd like to point out, Sebastian's skin tone has also changed in the new season, and he's noticeably tanner than his previous anime appearances and yana's illustrations. So why is this okay for the anime to make creative changes for sebastian's skin tone, but have to stay accurate for Soma? (whose dark skin been established in anime viewers' eyes for decades now).

To be fair, I did a comparison of the anime grayscaled and Soma in the manga during the Weston arc. I checked the values and while I will say that his skin is relatively in the same as the manga, only few degrees lighter, whitewashing isn't only about skintone.

Colourism in Features

We could argue whether its just different anime styles or the way Yana draws noses, but its not a great look for Soma's nose to be made noticeably sharper compared to his flatter/rounder nose in the manga/earlier seasons of the anime.

Talking about the Mandela effect and cognitive dissonance as well... there's also something about how manga readers seen Soma with brown skin and pure black hair years in the manga, only for the anime to lighten those features.

It doesn't help that Soma canonly has purple hair and yellow eyes (if anything, I do appreciate the more natural tones they gave Soma this season. No more highly saturated purple hair and yellow eyes!)

Yes, Kuroshitsuji is a fantasy story, and YES artists of color like to play with fantasy features with characters, me included! But my point is that black/brown representation in media is so little already, especially when character artists are also averse to drawing any defining racial features.

Yana has designed brown-skinned characters in the anime with straight white hair and light-colored eyes about three times now (ie. Agni, Angela, and Hannah). The only Indians with dark skin and hair are a bunch of homeless thugs that Soma and Agni stop from mugging Ciel, proving they're "one of the good ones", and Mina whose treatment in the manga/anime is abysmal.

Discussing Racism in Fandom

Alright, so over the past few days, I've seen some fans disappointed with Soma's skin tone change and I hope my post illustrates why they would be. But I've also seen some angry and frustrated reactions to those fans! And I want to ask, why?

Why is fans bringing up racism in anime considered "discourse" but reacting harshly towards those fans is not?

Why would fans expressing disappointment about whitewashing gets you more angry than the whitewashing itself?

Why is being disappointed that an anime lightened a character's skin tone, a character who both anime-only watchers and manga readers alike saw as dark-skinned, "stupid" to you?

How come the fandom gets a good laugh out of the usage of "fag" potentially canceling the anime, but talking about race is a "risk" to getting a new season?

And if you disagree with my points and believe the anime is only being accurate to Yana's work, why not just say "Soma's skintone is more accurate to Yana's color illustrations, but I understand the disappointment and shock," without being condescending towards us for being concerned in the first place?

I'd be pretty happy if the anime was just using intense lighting and that Soma is darker than he appears (in fact, if that happens I'll reblog the good news to this post!) Because this post isn't "discourse" to me, I'm discussing race regarding one of my favorite characters in the fandom. Discussions like these don't ruin the fandom, but actually help it become a more welcoming place for fans of color.

Whitewashing in Anime - Agni ft. Cithis

[syndrossi]

resonant ch25 dvd commentary

Inspired by @cloud-harasser's ask, some dvd commentary of the latest chapter. No idea how I'm gonna be structuring these, so we'll just meander aimlessly until I settle on a format!

Favorite line: "The crown he had so coveted, she mused, had come to wear him." (Rhaenys)

Mostly because there's so much behind it. Obviously there's Rhaenys's own bitterness over the Great Council and her belief that Viserys's rule has weakened their family. But also how it has, in many ways, weakened Viserys himself. His health, his happiness, his relationship with his family. The crown consumes, if you are not strong enough--and perhaps even if you are.

In general Viserys + the weight of his crown is a subtle (or perhaps not!) theme in the chapter:

"He gladly forgot his crown when it did not suit him, only to brandish it like a sword when it did..."

"Viserys looked from Daemon to her, and then back, closing both hands around his cane, as though it were a scepter."

"His hand found his hair, as though to push back the weight of his crown, his sigh loud in the sudden quiet of the room."

"If Viserys decided to take his supper with only his crown for company, that was his own choice."

The crown constantly isolates and wearies Viserys, which is why he's constantly trying to put it down, and be just Viserys: a brother, a cousin, an uncle, a father. But to Rhaenys's point, he only puts it down and picks it back up when it suits him.

(I always worry that people think I dislike Viserys or am going out of my way to make him unlikeable, but honestly I find his struggle to be a very compelling one.)

Favorite moment: A toss-up between Rhaenys reaching for the wine to deal with this bullshit and Daemon comforting Jon by the hearth.

Favorite dynamic: Rhaenys and her cousins. Rhaenys's viewpoint of them is somewhat frozen in time (moreso Daemon than Viserys), but it's still pretty accurate. Since this story is very Daemon+Jon+Rhaegar-focused, we usually see Daemon in a very positive light, OR we see him as the ultimate villain from Alicent and Otto's POVs. Rhaenys is a fun middle ground. She is able to call attention to / muse upon his faults while still remaining fond of him.

"Quick" hitters:

This was one of the more frustrating/difficult chapters for me to write, because it took me a while to settle into Rhaenys's voice. Her POV is one of the most heavily edited scenes I've done.

I went back and forth between two versions of the boys' disappearance. There's a natural pause in the Viserys-Rhaenys-Daemon conversation (when they're talking about the Princesguard and also the Stepstones) where you could slip a scene break in. I wrote it originally from Rhaenys's POV, which is what we ultimately got, but I also partially wrote it from Jon's before deciding it was stronger to have Rhaenys's perspective. We'll save the secret passage spelunking for another time!

I originally had Jon bestow the name of his hatchling in this chapter when he introduced him to Rhaenys, but this wasn't really the appropriate place for Daemon + Rhaegar to react to it, so it got moved to 26, which is all about dragons! (The chapter is literally called "Dragonkeeping"!)

It's subtle, but Rhaegar latches on to Rhaenys hard as the first Targaryen woman he's encountered. Hugging her almost choked him up, and he was upset when she announced she'd be leaving soon.

Cut partial Jon POV scene in the secret passages (standard disclaimer that this is raw/unedited lol:

“Are we lost?” What Rhaegar had assured him was a five minute walk through tunnels beneath the holdfast to emerge in a small crypt on the edge of the garden—one of many for Queen Rhaenys, whose body had never been returned to her homeland—had become fifteen minutes of navigating tunnels that ended abruptly or in doors locked behind chains, or switches that did not work. “Much has changed,” Rhaegar said, fixing the latest dead end with a betrayed glare. “Or changed after, I suppose. Some of the tunnels must have been extended later, and chains removed.” He frowned in thought. “During the Dance, perhaps? It is not known how Aegon escaped the Red Keep.” Their plan to sneak to the king’s chamber in support of their father, exchanged in hushed whispers in Princess Rhaenyra’s chambers, was beginning to look doomed to failure. Jon followed Rhaegar back to their current tunnel, where his brother exhaled in frustration. Their hatchlings, who were entertaining themselves by zipping along the dark corridors, did not seem to mind. In fact, they seemed to rather enjoy the cave-like interior of the rougher-hewn spaces. Rhaegar held his torch up, their only source of light, turning to peer down each side of the tunnel. “There is a small passage near the tunnel to Flea Bottom that leads to the Queen’s Ballroom within Maegor’s Holdfast. I did not want to use it, because we will have to cross most of the holdfast to reach the king’s chamber. We will be spotted before we reach it.” “How far?” Jon asked. “Another ten minutes. We are on the opposite side of the Red Keep right now, nearer to the Tower of the Hand.” Jon grimaced. By the time they reached it, Laenor would almost certainly have raised an alarm, but the same was true of returning to the passage leading to Rhaenyra’s chamber. Then he remembered Rhaegar’s story from before. “Aren’t we near where the dragonglass mosaic is? Beneath the Tower of the Hand?” Rhaegar turned to him in surprise. “You wish to see it now?”

[suzy-queued]

DVD Commentary: Under Lock and Key

@callivich invited me to share behind-the-scenes commentary from a fic. I hope you dig this deep dive into Under Lock and Key!

Give us some stats - (when you wrote it, word count, how long it took to finish, is it a one-shot/multi-chapter, etc) I wrote it in 2021. I posted a chapter a week, and I was actually writing those chapters each week as I went along. 15 weeks of their life = 15 weeks of my life.

What was the initial inspiration for your story? I have general non-specific angst about college. It feels like an earworm, a time in my life where so many things were unfulfilled or unresolved. So many roads not taken. I needed to write something to put those thoughts to rest.

If the story is written from a character’s POV, why did you choose this character? I alternated Ian's and Mickey's POV, because I love seeing both of their sides. That also helps increase the tension, because you can leave one person's thoughts on hold while you go see what the other person is doing.

What was your favorite scene to write? Any of the scenes in chapters 5-8, the simmering time before they actually get together. I love to write their push and pull.

How did you come up with the title? Because hair metal rules.

Did the storyline change in any way as you wrote the story? The story started as a college radio station, where Mickey was a shock jock and Ian was a new volunteer. It would be told via journals that Ian wrote for one of his classes.

I wrote a couple of Ian's journal entries, but nothing was gelling. Once I changed the setting to the lost keys office, the story took off.

Initial ideas, original opening, the day I decided to switch the setting.

Oh, by the way, I usually handwrite everything.

If you are writing a particular trope or genre, was it your first time writing this? This is the sweetest story I had ever written. I had always tried to write compelling plots before, things with adventure and intrigue. For this one, I wanted no villains, hardly any angst, just two people falling in love.

Are there any deleted scenes that didn’t make it to the final story? So, so many.

The original chapters from the radio station.

That night after the mid-semester party, I had about 5,000 more words of them making their way back to Ian's dorm.

I had more descriptions of Mickey being completely into the Chicago music scene.

I outlined an epilogue from 10 years in the future.

Would you ever write a sequel to this story? I do have that epilogue outlined. Not sure if it'll ever see the light of day!

Are there any ‘easter eggs’ in your story - e.g. references to other stories you’ve written, a trope you often use etc? There aren't references to my other stories. I had only published one fic before that. But, man oh man, are there references to my college experience.

The lost keys office was the most fascinating place on my campus. It lived in the basement of the next dorm over. I never needed it, but many people I knew did.

Mickey is based on my friend Sam, who I spent late nights with in the architecture building. He hated every guy I had a crush on and wasn't afraid to tell me. We climbed on yellow steel-beam sculptures, stole signage from the parking garage, scaled buildings and sat in windowsills, talked about music, and harassed each other endlessly. It was one of those "lightning in a bottle" friendships.

Trey Kanahele is based on Gordon, who lost his keys so many times, usually while in the shower. He made it a point to walk across campus in his towel, with his long black hair flowing.

Hannah is based on Leslie, the coolest girl I met in Moore Hall my freshman year.

"Charlotte" and "Clemson" were my top two picks for colleges.

Dr. Neal is based on my current friend Jayme, who is a forensic nursing professor and takes her students to Africa in the summers.

The bulletin board, the grounds of the school, the fire drills in your pajamas, the dining hall, the crazy late-night games, the challenges of registering for classes, the meetings with advisors … all of it is plucked from experience.

If you’ve chosen your most popular story, are you surprised by the popularity? This one has the most hits of any of my stories. I'm surprised that it's the one that people keep coming back to. I've written a bunch more since then, but this one has staying power.

Were you nervous or excited to post this story? I'm nervous to post everything. Even now.

Did you have a beta or a friend who helped you as you wrote? No, I'm stubbornly beta-less.

Anything else you’d like the readers to know about the story? I make my own merch for the stories I write. Here's me in actual college and me today re-imagining college through a Gallavich lens.

This is open to all writers! Pick your favorite story you’ve written or your most popular or the one you think deserves some more love! Or ask your followers to suggest their favorite fic of yours!

And hey, if there's another story of mine you want to hear about, I can share more!