#they are both so influenced by grief and it’s so interesting

[sunderwight]

Shen Qingqiu gets hit by a rare wife plot.

And it actually is a rare one because Airplane didn't even write this one down! He toyed with the idea before ultimately dismissing it as being too controversial for the tastes of his readers, and adapting only a few of the same elements for a subsequent chapter of PIDW.

But apparently the System can pull inspiration even from the author's thoughts, especially when there's nothing to contradict the concept and even a few threads of it still to be found in the original, and somehow Shen Qingqiu runs afoul of this previously-unwritten plot bunny.

The core concept was a cuck scenario, of all things. One of the Luo Binghe's wives gets afflicted by a poison that can only be cured by dual cultivation, but specifically can't be cured by by dual cultivation with anyone who has mastery over demonic qi. Something something conflicting energies, something bullshit something. Peerless Cucumber would have ripped the chapter to shreds if it had actually made it to publication, not just for the insult of implying that Luo Binghe should let one of his wives sleep with someone else, but also because why would Luo Binghe -- able to use both kinds of cultivation -- somehow not be able to keep his demonic energies from influencing the situation just in this one case?

Well it turns out that in his specific case it's because sex gets him too worked up to keep things strictly separate, and the degree of control required to treat the affliction whilst dual cultivating is extensive enough that even a little slip-up would be fatal.

Of course, in the actual chapter of PIDW, this same plot device was altered and used to create a harem orgy where Luo Binghe oversaw several of his wives "treating" one another's "afflictions", but Shen Qingqiu just had to go and get a fatal of dose of the more severe version (he didn't realize the risk, because again, this version didn't even make it into the novel).

Anyway, of course this ends up with Shen Qingqiu trying to figure out another way to cheat death, while Luo Binghe goes through the five stages of grief before accepting that he's just going to have to let someone else fuck his husband. This leads to an argument because of course Shen Qingqiu's not going to cheat on Luo Binghe, and he's especially not going to force one of his martial siblings to sleep with him, come on now, and Luo Binghe trying not to cry tears of blood while bringing himself to explain that a fair few of Shen Qingqiu's sect siblings would be happy volunteers for this task.

Shen Qingqiu's just like, well of course you think that, for some bizarre reason you think everyone wants to sleep with me. Bias is what it is. Really it's flattering Binghe but obviously every other person we know is straight, that's just statistics, and everyone in the entire cultivation world knows that Qi Qingqi would sooner chew glass than have sex with a man!

Luo Binghe, weeping now: Shizun please. This is serious. I need you speak words that make sense in the order you're saying them.

They argue, they reach an impasse, the clock is ticking. So Luo Binghe reluctantly turns to the most reliable source of information (outside of himself) on Manipulating Shen Qingqiu to Do Things That Are in His Own Best Interests -- Shang Qinghua.

At first Shang Qinghua is like, well I'm flattered Junshang but I don't think I could shoulder the baggage of fucking Cucumber-bro for you. But then Luo Binghe is like no I need someone who is way hotter and more capable than you, if Shizun is going to fuck someone else at my behest they're going to be TOP TIER so that when I fuck him better afterwards he's really impressed with me. Liu Qingge, obviously.

Not Yue Qingyuan, Shang Qinghua asks? (He'd take the insult a little more personally but honestly he's just relieved that he's not being asked to navigate this social minefield.)

No, Luo Binghe says. He's not 100% sure he could beat Yue Qingyuan in a fight even to this day, which in his mind also translates to not being 100% sure he could do sex better than him either, so Yue Qingyuan is an emergency last resort. He's way more likely to cry on Shizun too and Shen Qingqiu is into that shit, it's too risky.

Alright, says Shang Qinghua, and he thinks about it, and then he comes up with the beautifully simple solution:

Luo Binghe has to fuck Liu Qingge first.

Because of course the crux of the issue is that even with permission, Shen Qingqiu doesn't want to cheat on Luo Binghe. But in the twisted annals of his mind, Luo Binghe himself is still entitled to a harem, even if Luo Binghe is also happily monogamous in this life. So if he shacks up with Liu Qingge first then Liu Qingge essentially joins Luo Binghe's harem, at which point if Shen Qingqiu sleeps with him it's not an affair, it's the gay version of those fanservice-y 3P scenes that the wives in PIDW did. Shang Qinghua translates the concept as best as he can to Luo Binghe, who -- though slightly dubious -- must accept that so far Shang Qinghua's wisdom hasn't steered him wrong with regards to his shizun's eccentricities.

Luo Binghe's mission: seduce Liu Qingge, or at least convince him to have sex, or possibly to lie and (convincingly!) tell Shen Qingqiu that they had sex. That last one is the longest shot so he's probably going to have to just fuck him (Luo Binghe still underestimates how willing his husband is to believe that just about anyone would have sex with him).

Shang Qinghua's mission: convince Shen Qingqiu that he owes his husband steamy threeway gay sex or something so that this plan he pulled out of his ass doesn't backfire and get him killed.

[kendrysaneela]

“She’s like you. Or you’re like her? I don’t know”

That’s such an interesting line cause it’s true! While the outies and innies have different personalities and different wants and needs they each exist within each other. When Helly is Helly Helena is within her subconscious,when Dylan is Dylan outie Dylan is in his subconscious,when Mark S is Mark Scout Mark S is there in his subconscious. They’re all there. And they’re all influencing each other Irving being the most straightforward version of this what with him seeing the globs of paint sometimes because his outie always paints the same painting over and over.

They each exist within each other’s subconscious. And you can see some of the outies bleeding into the innies as they start to experience similar stuff the outies have experienced! (Except for Helly and Helena Helena is actually the one turning into Helly) I think it goes to show what do memories do how do memories shape a person how much of you is your is subconscious and how much is your conscious memory. Like Mark starts out super peppy and happy and helpful and then as he starts to experience more and grief and slowly starts becoming more similar to outie Mark in the way he handles his grief. But that also makes me wonder. Before Mark Scout experienced all that grief was he similar to Mark S? I bet he was. Or he at least had the potential to be.

And then Irving, his outie is clearly a character that needs meaning and is devoted to a cause. And at first innie Irving finds meaning and finds a cause in like helping to spread the message of Kier and doing his work and following the rules and it’s not until he finds meaning outside of work and finds something new to fight for that he starts to become more similar to who outie Irving seems to be. Someone who is more paranoid and more rebellious. Not to mention both of them enjoying art and both of them painting/drawing the same piece of art over and over again. (Albeit for different reasons)

Then there’s Dylan G who’s outie is kinda insecure because he’s been batted down by life a lot seemingly but he does still clearly love his family he’s just depressed unfortunately and has low self esteem from having a lot of unsuccessful adventures in life clearly. But he does seem to be trying outside and his wife still loves him a lot. Dylan inside starts out confident and convinced his outie is super successful and a body builder and has a bunch of girls on the outside. Then he finds out who he really is outside and then unfortunately. Starts to have some losses inside….and his self confidence starts to fall, and then he learns he has a family and able to be convinced to separate himself from his friends because he cares so much about his family. (I think this will transfer back to him caring a lot about his innie family again) .

Then. There’s Helly. Now Helly is the exact opposite of everyone else and shows that it’s not always innies turning into outies. Helly doesn’t start to turn into Helena. Helena starts to turn into Helly. And the longer Helly exists the further she digs her feet into her rebellion. And the more Helena learns about Helly the more she turns into her. Helena is a woman who has no autonomy who makes none of her own decisions and clearly her whole life has just gone along with what she’s been forced to do without making much of a fuss because that’s what she was raised to do and I assume because the punishments for stepping out of line in the Eagan cult are severe. She has also never experienced love. And I think she’s probably resigned herself to this life. But then she sees Helly. And Helly doesn’t know she’s an Eagan. Helly doesn’t have all the cult programming Helena has, they can’t control Helly with threat of what her father will think or do. So Helly rebels and Helly rebels HARD. And Helly’s first instinct being to rebel is probably because Helena has been trapped her whole life so when Helly woke up on that table locked in that room her subconscious went “WE’RE TRAPPED WE’RE TRAPPED ESCAPE” and Helly didn’t have any of Helena’s fears or knowledge of who she is or what’s happening so she doesn’t repress that rebellion or fear like Helena does so she continues to outwardly rebel.

More than Helena probably ever has or at least has in a while. And she receives love for it from her coworkers. She receives love and she receives friendship and Helena sees all this. She sees this woman this other version of her who’s not weighed down by her name or the expectations put upon it and she sees her become who she’s always wanted to be so she starts to try to become that person. And when she’s pretending to be Helly, she flirts with Mark and she makes Irving little snow seals and she makes fun of her family’s lore and she’s free and she’s taking in love.

I think even with Helena no longer being able to pretend to be Helly, Helena will start to either consciously or unconsciously become Helly outside. I think it’s also why she’s watching Mark at the end of the episode. She’s basically in the middle of an identity crisis right now and she’s probably wondering if outie Mark is the key. What outie Mark is like if he’s anything like innie Mark.

I also think Helly and Helena hating each other is a good illustration of Helena’s hatred toward herself. I think she hates herself because she doesn’t have the courage to be like Helly and to rebel like Helly and to fight for her autonomy like Helly.

And they all do this because they are their innies. Their innies are their outies and their outies are their innies they are each other just if they had different life experiences.

[foolishlyzephyrus]

i love nine and twelve because both at first glance seem indifferent but they actually care very deeply

[cranberrydietcoke]

euphoria - r.c

ex bf ! rafe cameron x kook princess ! reader

content: 18+, drinking & drug use, drunk/high sex, degrading names (slut, whore, bitch), on camera type shit, kinda public party sex, my y/ns are always cream team soz, kinda dubcon ig, he makes her say ily, creampie. def giving s1 fratboy rafe. non-descriptive except for tanned skin n u curl ur hair!

a/n: first rafe fic eeeep! many more to come tho i deadass have feelings for him it’s a problem. & thx u for the luv on my last two fics !! preesh u bad bitches

wc: 3k

your fingers intertwined with sutton’s as she pulled you along, splitting the tight crowd of snapbacks and miniskirts. smoke hung over the purple atmosphere as some future song boomed from the speakers. you greeted each spinning face you slid by with a slurred sorry baby! or scuse’ me!

“bitch nooo, come the fuck onnnnn,” she pleaded, jerking you away from the random man you were offering your vape to.

“later okay! come smoke w’me!” you yelled back at him, trying to communicate with charades as sutton pulled you deeper into the heart of the party. he was cute, but you knew you wouldn’t see him later, considering rafe was about twenty feet away slicing lines on the kitchen counter. the baby pink polo hugged his bicep as he bent over, rolled dollar bill tight between his fingers.

fuck. i miss that platinum card.

a few months ago, you and rafe  were the it couple of kildare, without question. luxury vacations, designer swimwear, a mercedes for christmas, days in the yacht. it was like kim and fucking kanye. even more so now. a breakup had never lasted more than a few hours, usually ending with you both getting high and rafe fucking an ‘im sorry’ out of you. but this time, you were actually done with his shit, done having a screaming match every day, done apologizing all the time just so he wouldn’t blow up. sure, it was sad at first. but when it was posted on figure8insider, you had finally reached the last stage of grief: acceptance.

“like why do they even fucking care?” you barked, scrunching a warm, fresh curl in your hand. “how do they even know? shit’s like tmz.” spinning in your satin vanity chair, you turned to face your friend before sashaying to your closet.

“they act like we’re soooo a-list. i’m with your ass every day, you are NOT that interesting,” sutton chuckled, adjusting the strap of her top and checking herself out in the mirror. with topper’s parents away in the virgin islands, his annual end-of-summer banger was everybody’s move for the night, and you were certain rafe was gonna be there.  

“right?” you blew clouds of strawberry pound cake as you rummaged through hangers, “like, i’m not an influencer.”

it came out like a lie, and in a way, it was. you were the sweetheart of the island’s restless and entitled youth, their very own people’s princess. your strapless black dress could only be worn after sundown, barely covering the lower curve of your ass, delicate pink ribbons holding together the cutout of your cleavage. a stack of expensive gold bangles chimed together as you stuffed all your shit into your purse, slammed another shooter, and dialed reagan for a ride.

“you know rafe’s gonna be there, right?” she asked, turning the music down and casting a glance at you from the driver’s seat. you suck your teeth behind your glittery lips.

“duh, bitch! why do you think she got that on?” sutton screamed from the back, making all three of you die in laughter as you hid your face. just like, one more time wouldn’t hurt.

even under the kaleidoscope of neon lights, you could tell the whole room’s attention turned toward you as you danced your way in. sneaking a seltzer from the cooler, you settled at the beer pong table where a group of wannabe finance bros crushed solo cups of natty light, shooting each other starstruck glances and sharing whispers as you glided through, greeting everyone with an indifferent wave and an insincere heyyyyyyy.

“yo, rafe, your girl’s over there,” kelce leaned in, motioning over to the enveloping swarm of people growing around you.

“bro, top,” rafe fell back, slapping topper in the chest, “why the fuck did you even invite her?” he spat out, eyes pulsing.

“dude…why wouldn’t i invite her…” topper stated plainly, as if rafe had asked if the sky was fucking blue. if you weren’t there, that shit was a flop.

“that bitch,” he started, shaky hands sliding in to search his pockets, “that bitch is fucking crazy, okay?” he pulled out a dime bag and his wallet, eyeing his friends who knew better than to speak. he tapped some out on the granite countertop, lining it up nice and clean with his american express, hinging at the waist to align a rolled 20 with the powder, making it disappear in one snort.

before it could register, sutton was dragging you through the sea of people and closer and closer to rafe, forcing you to abandon the crowd of drooling fans. gripping your shoulders, she planted you right in front of him. you looked up, caught between a flash of fear and drunken amusement, an absent smile playing on your face.

“be good okay?” she chided, lightly slapping your back with beaming pride, “text me if you need anything!”

he wiped the excess powder off his nostril with a laugh of disbelief as he stood over you, studying your face. all you can manage is a squeaky and breathless hi as your tipsy blush deepens.

“hey, kid. miss me or somethin’?” he mocked, bringing the tips of his fingers to brush against your arm. 

“oh my god rafe, be serious,” you scoff, batting away his large, lingering hands.

“aw, what? don’t wanna share a blunt with me like we used to?” he drew out, words dripping in honeyed hatred. almost made you forget all the shit he’d put you through. the familiar teal of his eyes roamed over every square inch of your freckled and exposed skin.

“fuck no,” you laughed, watching as his tongue swiped against his bottom lip, “no tellin’ where your mouth has been.”

“right, “ his eyes narrowed as he crouched down, inches from your face, “like you’re some fuckin’ angel.”

breath hot on your lips, encapsulating you with the smell of stout liquor and le labo santal. “won’t smoke with me, but you’ll smoke with ole boy?” he spoke, low and calm through heaving breaths as he motioned with a sharp hand towards the brunette you’d ran into.

fuck. he heard you.

 “i see how it is…bein’ an attention whore since you left, huh?” he backed up, wiping the wetness off his lower lip with the same hand.

“don’t piss me off,” you rolled your eyes, “come on.”  taking his wrist into your hand and leading him towards the balcony door. he had an uncanny talent for manipulating the situation, planting the illusion you had the upper hand, although you never did. you were unknowingly right where he wanted you. digging into your purse, you pull out an m&m mini’s tube, popping it open and flipping it vertically. a blunt slid out and into your fingers, perfectly rolled.

the coastal air was thick with humidity, only lit by the light poles on the beach. rafe’s chest hovered over your back as you stepped out into the salty breeze, brushing strands of hair out of your eyes and positioning the blunt between your lips. just as you fished for your lighter, he moved faster, sparking a flame under his calloused thumb and bringing it closer. he watched you as the fire cast a glow on your half-lidded gaze, crackling lightly as you inhaled. as mean and vile and ungrateful as he was, he truthfully couldn’t imagine himself with another girl. you were bitchy, high maintenance, never satisfied, spoiled, whiny, just so unknowingly powerful. but god, you were fucking perfect. who else on this island would be able to handle you?

“you know,” you hissed, drawing the smoke sharply between your teeth before releasing it in a hazy stream that slipped through the perfect, glossy ‘o’ formed by the soft contour of your lips. “it wasn’t as devastating as i thought it was gonna be.” you sputter, nudging it towards his towering frame which stood outlined by the glow of the orange lanterns. he hit it, tiny little consecutive pecks that made the tip flash on and off.

“really?” he choked between inhales. “cause you look pretty devastated to me.” he smirked, stepping closer, blowing the potent smoke into your parted lips as you instinctively breathe it in. “you miss me?”

“maybe just a little,” you tease, watching the satisfied smirk grow on his face. his free hand traced the curve of your collarbone, fingers lightly brushing the tousled strands of your hair off your shoulder. he leaned in, pressing a soft kiss to the tanned skin.

“i miss your carrdddd, that nice big boattt, the presents.” you sing with a smug smile, hands snaking around his neck, his fingers finding the cushion of your hips, moving and swaying together.

“oh, shut the fuck up,” he looked down at you, dilated pupils scanning your face, “nobody’s fucking you like me, bet that,” a dry laugh left his throat.

“ugh,” you crash into his chest, pressing your cheek into the dry cleaned ralph lauren. whining  ihateyouihateyouihateyou’s.

steady and smooth, he discarded the blunt, wrapping his hands around your back, groping and pawing at your half-revealed ass. without thinking, you lift onto your tippy toes, breath coming in shallow gasps, lips lingering over his open mouth. without warning, his tongue fought its way in, swirling with yours in a hot, desperate hail mary. your lips met in sloppy smacks, stumbling over each other until he eventually had your hips pressed against the side railing.

pulling away, he spoke, low and from his chest. “you hate me? yeah? or do you just miss my dick in you,” his face lingered over yours, “n’ it’s got you all fuckin’ bothered.” you felt the puff of breath with each word. “say it,” he coaxed, hiking up the front of your dress to thumb at the hem of your panties, “say you want me to take that pussy.” his long fingers ran over your clothed clit, making your hips roll against the opulent stone that hung over the thornton estate. he chuckled, shaking his head as his gaze fixed between your legs. “it’s fuckin’ mine anyways.”  

your lips chased after his as he stepped back, tsking at you, still holding you steady by the waist. “nah, baby. gotta say it,”

you closed the distance, pressing your soft, heavy tits into the muscle of his abdomen and the pads of your fingertips into his bicep. face so close to yours, a smirk practically tangible in the air.

“pleaseeeee rafe, i need it,” you panted out, desperate and erratic. “just one more time.” your eyes traced him up and down, sinking into cross-faded euphoria. a single, needy tear fell from the corner of your glittery and bloodshot eye, streaking down your flushed cheek. brushing his lips against you, he flicked his tongue, tracing the path of the teardrop. you moan at the warmth against your cool skin, reaching down to guide his hand between your legs.

“fuck, such a slut.” he breathes out, cupping your dripping cunt and meeting your lips in a deep, perverse kiss. the kind that you just can't help but pull back a little bit. “missed you, missed this pussy.” he spoke in a low guttural rasp, almost inaudible. his wide build shielded you from the large glass doors that led into the party, hooking his fingers in the fabric of your panties and yanking them down, dipping his middle finger into the wetness pooling at your entrance.

“god, need this shit,” he groaned, swiping his finger gently up and down, circling your bundle of nerves. “turn around.”

he gave the command yet didn’t wait for a response, his firm grip on your waist flipping you the other way, leaving no room for a fight. bent over the balcony balustrade, your head hung in the air, looking down at the pool that sat twenty feet below. one of rafe’s hands pinned you over the railing by the back of the neck while the other played and prodded at your hole, getting you ready for him. discreetly, he worked his cock loose, rubbing the tip through your slick folds.

“rafeeee,” you muffle out, face smushed against the stone and immobile from the strength of his grasp. “not here, please, ca-can we just go inside?”

“nahh, i don’t think so, baby. this is what you wanted, right?” his hand slid down, wrapping a fist into the bunched fabric of your dress, pressing into you. your walls fluttered against him, a feeling so familiar yet so distant. lasers from the party strobed through the window, flashing by you. knees buckling, you couldn’t help but wiggle your ass back against him.

“god – fuck!” you squeal out, feeling him balls deep in you, guiding you down his length and filling you to the hilt. reaching into the pocket of his khakis, which still hung low on his hips, he fishes his phone out. with a quick flick, snapchat is open and the flash is washing over you. even with your head hung over the railing, you could still see the spotlight focused on your tight, twitching hole. he slides in and out, using your dress to manipulate the rhythm of your body. capturing everyyyy moment.

“this s’my shit, huh?” he panted out, your ass recoiling against each harsh thrust. “you’re my bitch, y’know that? been my bitch.” voice low and slow, almost cocky, like he wanted everyone to know -  like they didn’t already. the sound of damp, saturated clapping mixed with the crash of waves onto the shore.

“p-please, they’re gonna see,” you whimper, body jerking as he slams into you over and over. imagine the uproar if everyone saw you, little miss untouchable, taking your ex-boyfriend’s cock on the terrace outside topper’s party. grabbing a handful of hair, he yanks your head back, glare of the light fixed on your face. 

“they’re gonna see anyway, baby, don’t be shy. jus’ cum f’me,” your face screwed with his words, brows furrowing as you looked up at the camera with hopeless, empty eyes. just so fucked out. the curve of his dick poked and kissed that sweet spot deep inside you, bringing you closer and closer.

“you love me, huh?” he grunted, still forcing a deep arch in your back. “tell the camera you love me, princess.” you could feel yourself coming loose, guilt and lust boiling over in your tummy. you explode in a squealing moan, gripping on his cock and covering it with cream.

 “i love you rafe, fuck! - love you so so much!” crying through hiccups and flickering eyes, still trained on the flash. such a smart girl getting fucked dumb on camera. such a powerful person yet completely powerless in his hands.

“gonna let me nut in you?” his filming hand went flimsy as he quickened his pace, groaning and letting out short little bursts of air. “y’gonna take it all, be good for me like you used to?” he rasped, met with limp nods and a braindead mhmmm. that’s all it took for him to pound every inch into you, sending you deeper into your daze. fuckin’ dickmatized.

the video on his screen shook violently with each stroke, hot spurts of cum filling you up. “fuuuuckk,” he groaned, hips stuttering to a stop and loosening the grip on your hair, leaving you to catch your breath hung over the railing. he pointed the camera down, pulling himself out and spreading one cheek open with his hand to expose the stickiness dripping out of you. the flash finally goes off, and he saves it to his memories. bringing his fingers up to your leaky hole, he fucks his seed in deeper, eliciting a choked sob from your lips. pulling you upright and flipping you to face him, he squats down to pull your panties up from around your ankles, shimmying your hips into them and pulling your dress down. it was just like y'all used to.

the party was still in full swing as you both slipped back in, parting ways as you went to check in with sutton and reagan, completely disregarding the knotted mess of hair on your head and the streaked makeup down your face. was that fucking real? your legs were tight as you stagger and shuffle through groups of drunk teenagers all bouncing with the music, trying to regain your composure. as soon as reagan spots you from the couch, her jaw is on the floor, ushering you closer with her hand.

“y/n, no fucking way! you slut!” she shrieks with wide eyes and a light slap to your arm. “does sutton know?”

“girl, she set the shit up!” you try to explain, motioning with your hands. “i was like, if you insistttttt.” you lie, tucking a strand of hair behind your ear, hitting her with a debby ryan radio rebel type smirk.

“you’re lying,” she goes on, picking her jaw up and taking a swig of her drink. “speak of the devil!” she exclaims, motioning behind you with her drink. a sharp smack landed on your ass, making you jump. sutton’s hand gripped yours, turning you around.

“did you fuck him?” she smiled, obviously drunk as shit and wayyy too loud.

“yeahh, what do you mean…” you roll your eyes, snapping your head to the side with a wide smile. it was evident how excited sutton was, prideful about it. lifting her solo cup in the air and grabbing to lift yours with the other, she let out a deafening woo!

“personally…” she went on, clutching her imaginary pearls, “i think that’s worth drinking to,” she proposed, side-eyeing and nudging you not so subtly. “come on bitch! shots for ken and barbie!”

to be honest, that was the last thing you remember.

the next morning, you woke up nuzzled in plaid grey sheets, your phone buzzing incessantly with notifications. the sound of the groundskeepers filtered through the windows. tannyhill.

fumbling with your phone, the words flashed across the screen.

figure8insider – ‘kildare’s power couple reunited? rafe cameron and y/n y/ln spotted together at party!’

oh.my.god.

[nataliescatorccioapologist]

Exploring all of the main Yellowjackets ships (and what makes each of them so compelling)

In honor of everyone fighting about which ship is the best in this fandom, I wanted to do a rundown of each of the main Yellowjackets ships and why they are all so interesting and believable in their own ways. I am only going over the most popular ships in the fandom (romantic pairings with more than 100 written works on ao3), so sorry if some of your favorite rarepairs are missing! And if you’re looking for a post all about how these relationships are so cute and healthy, this isn’t it (except for maybe Taivan). I’m mostly going to talk about how toxic, tragic, and tumultuous they all are, because that’s what we’re actually here for.

Jackieshauna

Jackieshauna is all about possession (in the best, most homoerotically intense way). Their dynamic is fraught with contradictory feelings that somehow exist alongside each other. Shauna idolizes Jackie’s magnetic influence, but she is also deeply resentful of her. Shauna adores Jackie, but she’s also suffocated by her. She feels like can’t live without Jackie, but she also can’t stand living in her shadow anymore. Jackie cares deeply for Shauna, but she also needs to own her; she needs to be validated by her position of power over Shauna.

The queer subtext in their relationship is so strong that it almost doesn’t feel like subtext at all. From the longing stares and the constant, almost hypnotic closeness to the way they interact with each other, the line between platonic love and romantic obsession blurs to the point of becoming indistinguishable. Their entire dynamic reads like a suppressed, unspoken desire, with both women using Jeff (and Travis eventually) as a way of redirecting their intense feelings towards each other. Shauna’s betrayal with Jeff doesn’t just feel like a “best friend stole my boyfriend” situation—it feels like she wanted to be Jackie, to consume her, to get as close to her as possible. And Jackie’s reaction isn��t just about the betrayal; it’s about the fact that Shauna was hers, and suddenly, she’s not. Jackie is so devastated by the knowledge of Shauna sleeping with Jeff that she no longer believes in love and loses her will to live entirely.

Shauna’s grief over Jackie isn’t just guilt; it’s, once again, possession. She talks to Jackie’s frozen corpse, hallucinates their conversations, braids her hair, does her makeup, eats her ear. It’s as if, in death, Jackie becomes more hers than she ever was in life. I just can’t get enough of the line, “I don’t know where you end and I begin.” Shauna eating Jackie is the ultimate culmination of this. It’s an act of worship—taking Jackie into herself, keeping her close in the most visceral way possible. But it’s also an act of domination—Shauna, who spent so long being beneath Jackie, is now consuming her, overpowering her in a way she never could while Jackie was alive.

There are so many layers to Jackieshauna; it’s love, admiration, obsession, ownership, codependency, resentment, and jealousy all wrapped up into one severely intense relationship. Their story is so tragic because it’s full of unspoken things—words that were never said, feelings that were never acknowledged, and a love that was never fully realized until it was too late.

One word to describe them: Possession

Their best scene: Their last fight

"Did I force you to live in my shadow, Shauna? It must be hard being this jealous all the time. You're so fucking jealous of me you can barely breathe."

“Are you quoting Beaches at me right now?”

“No…”

"I'm not jealous of you, Jackie. I feel sorry for you. Because you're weak. And I think that deep down, you know it. I’m sure everyone at home is so fucking sad to be losing their perfect little princess, but they’ll never know how tragic and boring and insecure you really are, or how high school was the best your life was ever gonna get.”

Taivan

Taivan is a peak golden retriever/black cat ship. Van is the golden retriever: loyal, endlessly optimistic (even in the face of getting nearly fatally attacked by wolves), and always trying to bring humor and lightness to situations, even when things are at their worst. She’s playful, affectionate, and follows Taissa around with unwavering devotion, even when Taissa is pushing her away or making choices that Van doesn’t agree with. This loyalty extends to Taissa’s sleepwalking, as Van’s support of her never falters even when faced with a darker, more dangerous side of Tai.

Taissa, on the other hand, is the ultimate black cat: fiercely independent, emotionally guarded, and always trying to maintain control, even when she’s clearly struggling. She’s skeptical, calculated, and reluctant to accept things that don’t fit her worldview. This initially translates into her relationship with Van, as she doesn’t want to be vulnerable, but you can tell she feels such a deep love for Van that keeps drawing her back in; unable to hide this softer side of herself. Van softens Taissa in the best way, cracking open that hard shell and allowing Taissa’s vulnerability and warmth to reveal itself. The most telling moment of this is Taissa’s willingness to enter Lottie’s spiritual circle to support Van. For someone as practical, skeptical, and grounded as Taissa, this is a significant sacrifice of her usual hard-edged pragmatism. But her desire to be there for Van, to show up in a way that is vulnerable and supportive, speaks volumes about the way Van has brought out a warmth in her that no one else ever could. Taissa’s love for Van is not just a passive emotion—it’s an active, deliberate decision to let go of control. The fact that she does this for Van is a testament to just how deeply she cares. And the Doomcoming “I want to see you” scene? That girl loves Van with her entire being.

In the adult timeline, Tai and Van cope with what happened in the wilderness in opposite ways. Taissa obsessively looks to the future and refuses to look back, while Van remains stuck in the past, refusing to move on. When they reunite in Season 2, they’re able to meet somewhere in the middle; a collision of the past and present.

It is clear that these two will do anything for each other, whether it’s fighting off a pack of wolves, tying themselves to each other at night, or going on life-threatening expeditions just to support each other. They are devoted to each other in any form. I can't wait to see them fuck on a table in the adult timeline in S3.

One word to describe them: Devotion

Their best scene: I ❤️ you (in blood)

“This is how you’re choosing to say ‘I love you’ for the first time?”

“You’re kind of leaving me hanging here, lady…”

“I love you, too.”

Lottienat

Lottie and Nat are classic narrative foils. They contrast so sharply with one another, yet in those very contrasts lie hidden similarities that shape their dynamic. Natalie was raised in a trailer park while Lottie was raised in a mansion, but they both grew up lonely and neglected by the people who are supposed to love them. Both of them feel alone and unloved, but where Natalie learns to toughen up and rely solely on herself, Lottie begins to seek connection in something bigger than herself—spirituality and the Wilderness. Natalie is the pragmatist/skeptic while Lottie is the spiritual prophet, but they both want what's best for the group. Lottie and Nat are arguably the two most compassionate, empathetic survivors, but they wield this empathy in different ways (i.e. Lottie offering Travis hope that his brother is alive, Natalie offering support through the grieving process as she guides him towards accepting his brother is dead). Together, they are two halves of a whole, each offering something the other cannot.

Lottie is both Nat's salvation and her undoing. Lottie offers Natalie the hope, purpose, and sense of belonging that she so desperately craves in her lowest moments, but in doing so, she inadvertently sets in motion a chain of events that ultimately leads to Natalie’s emotional and physical destruction. When Natalie is more alone and outcasted than she has ever been in the wilderness after the card draw, Lottie grants her the title of the group’s new leader. With this new title, Nat finally receives the love and appreciation she has always needed, but she also receives the burden of being in charge of (and therefore responsible for the actions of) a group rapidly descending into darkness, only intensifying the guilt and trauma she lives with for the rest of her life. When Natalie is on the verge of suicide, Lottie rescues her and takes her to her wellness community, which leads to Nat discovering self-forgiveness but also places her on the path towards her untimely death.

Their dynamic is defined by Lottie reaching out, trying to hold Natalie, to nurture and protect her, while Natalie fights and resists. The hypnosis/sharing shack scene is so important. It's Nat finally surrendering to Lottie (and all that Lottie represents). It's Nat allowing herself to be held (thinking of the way she lays her head in Lottie's lap, and the way she and Lottie are embracing each other as they dance around the fire), to be vulnerable and receive the love and care she never thought she deserved. It's so tragic that Lottie begins to spiral again just as Nat is beginning to trust her.

There are so many great Lottienat moments: the hint of pre-crash banter in "You don't talk shit unless someone really deserves it", Natalie comforting Lottie in the middle of the night when they sleep in the cabin for the first time, "Did you read that on a fucking fortune cookie?", Lottie always offering Nat her blood, Lottie's "I just want you to be safe", the iconic bathtub truce scene, the coronation scene with Lottie kissing Nat's hand and Nat looking up at her with awe and tears in her eyes, Lottie keeping tabs on Nat over the years to make sure she's okay, kidnapping her before she could kill herself, Natalie regressing to her teen self in the sharing shack as she rests her head on Lottie's lap, Natalie's "I think it's time for you to stop resisting", and Lottie and Nat dancing together around the fire.

One word to describe them: Tension

Their best scene: The bathtub scene

"Good game, you fucking loser."

"You talking shit? You little bitch, you ended up with nil, the same as me. But fine, good game."

Lottielee

So much of Lottie’s life leading up to the plane crash was about shame and self-confinement. Her father made her afraid of her own mind, and she spent much of her youth suppressing herself through medications and a socially acceptable mask. Laura Lee is the first person to accept Lottie as she truly is. She’s the first person to offer Lottie an alternative to her father’s control. Where Lottie has only known repression and self-doubt, Laura Lee provides a safe space where Lottie is believed. Not only does Laura Lee offer Lottie validation—she offers her a sanctuary for expression. She’s not afraid of Lottie’s abilities or her spirituality; she sees it as a part of who Lottie is, something to be embraced rather than suppressed. Lottie’s relationship with Laura Lee is foundational to her entire character; her psyche, her self-identity, her motivations going forward, and her path in life. Laura Lee helps Lottie develop an assertiveness and confidence she had not been able to access before, which in turn allows her to ascend to the extremely influential figure she ends up becoming.

I think so much can be said about the importance of touch in their relationship. Holding each other’s hands to guide each other, embracing each other, placing a hand on the other’s chest and holding it there. Laura Lee provides a gentleness/tenderness in her touch that Lottie has been craving her whole life. The act of placing a hand on the chest is particularly significant. When Laura Lee touches Lottie in this way, it is a moment of emotional anchoring. The chest is where the heart is, where one’s truest self can be felt and expressed. To have someone touch you there with reverence is a profound act of acceptance and recognition. And this is something that stays with Lottie, becoming an integral part of her spiritual practices. When Lottie offers this kind of touch to others, she’s not just comforting them; she’s offering the same acceptance and safety that she first received from Laura Lee. It’s a form of healing, of passing on the love and belief that Laura Lee gave her, a way for Lottie to channel her strength into others and to demonstrate the kind of acceptance she once craved.

Lottielee is about nurturance and sustenance. I love the absolute awe on their faces when they look at each other. In a way, they have faith in and worship each other.

Laura Lee’s death is extremely impactful and devastating to Lottie, so much so that she still sees Laura Lee’s ghost even 25 years later. Echoes of Laura Lee exist in everything Lottie does.

One word to describe them: Acceptance

Their best scene: The lake baptism

"I saw fire— a light."

"That's the holy spirit, you've been touched."

Mistynat

This ship has got to be the most hilarious out of any on the show. On paper, it makes absolutely no sense. Natalie is dark, brooding, cynical, and emotionally guarded to the point of being downright cold in the adult timeline. She has carefully curated an emotional armor; an air of detachment and apathy that she uses to maintain distance from anyone that could possibly become close to her. In contrast, Misty is a perpetual ray of sunshine—a walking bundle of overzealous energy and bubbly optimism wrapped in frilly, vintage-inspired cat sweaters. She's needy, socially unaware, and often acts out of a desperate desire for affection and validation. Their personalities, seemingly at odds, create a rich, almost absurd juxtaposition that makes their interactions fascinating to watch.

At the heart of their relationship is a shared sense of longing. Both Natalie and Misty crave connection and appreciation, but they have no idea how to foster it in healthy, meaningful ways. Both of them have been deeply isolated throughout their lives, though for different reasons. Natalie’s isolation stems from her trauma. She doesn't feel worthy of love and she's afraid of hurting people, so she keeps everyone at arm’s length, often sabotaging any potential for intimacy. Misty, on the other hand, is isolated by her intense neediness and socially awkward tendencies. She becomes overbearing and obsessive, constantly seeking affection in ways that alienate others. This creates such an interesting dynamic when the two are together, as Misty is obsessively pouring all of her loyalty and energy into Nat, while Nat is constantly pushing her away and struggling to maintain a safe distance between them.

While Mistynat is definitely stronger on Misty's end than Nat's, I think you can see the soft spot Nat has for Misty. Nat is begrudgingly charmed by her. Christina Ricci has said that she thinks Natalie was the only one to show any kindness towards Misty growing up, and I couldn't agree more. There are moments when Natalie shows a surprising level of affection and understanding toward Misty, even if it's fleeting or passive. Nat protects Misty from Shauna after Shauna punches her ("It's not her fault! Misty did everything she could!"), she appears genuinely happy to see Misty at the reunion, and the line "We're all like this, aren't we?" is Nat realizing how alike she and Misty are; how they share the same trauma.

It is so heartbreaking that Misty, who saw herself as Nat's greatest protector and most loyal follower, was ultimately the one to kill her. And it will also be so heartbreaking to see Misty's obsession with Nat extend to her wearing Nat's clothing and taking on her persona in Season 3 as a way of remaining close to her. Here's to seeing more of them in the teen timeline this season!

One word to describe them: Unpredictable

Their best scene: Misty snorting Nat’s coke

"Misty! Get off my coke! Oh my god you're possessed!"

Lottieshauna

Lottie is the only one to truly understand and embrace Shauna (even the darkest, most suppressed parts of herself). While she has other close relationships on the show, they all accept only a portion of Shauna (the portion they’re comfortable with, the portion that doesn’t feel dangerous, the portion that Shauna displays to others because she knows it won’t scare them away). Jeff, Jackie, and even Taissa can’t fully comprehend the depth of Shauna’s rage, the thrill she gets from danger, her desperate need to be seen, or the fact that she wants an outlet for the violent impulses she keeps buried. But with Lottie, Shauna can be her full, unfiltered self.

Lottie doesn’t just accept Shauna’s darkness—she encourages it. She doesn’t flinch from the things that would make others recoil. When Shauna is discovered to be talking to Jackie’s corpse in the meat shed, Lottie is the only one to extend empathy and understanding to Shauna. She covers up the piece cut out of Jackie’s arm and gives Shauna Jackie’s necklace because she knows that it’s what Shauna needs. After the death of Shauna’s baby, Lottie risks her life to allow Shauna to take her rage (and her intense grief) out on her. In the adult timeline, Lottie’s goat trust exercise (not sure what else to call it lol) is what makes Shauna realize how she has been keeping the people she loves at arm’s length; and it is what lays the groundwork for true healing. Lottie always understands what Shauna needs.

Shauna initially resists Lottie’s influence, but as the story progresses, you can see her slowly being drawn in to her web. I think there’s something thrilling for Shauna to be seen and accepted for her true self (instead of all of the masks she puts on to be what others want her to be). Their connection is one of shared experience, unspoken understanding, and the potential for something both destructive and healing.

One word to describe them: Cathartic

Their best scene: The beatdown

"Shauna, I know there's a lot of pain right now, but let it out. Shauna, we need you, let it out."

Travnat

There’s only room for one heterosexual ship on this list, and that is undoubtedly going to be Natalie and Travis. Travnat is tragic, toxic, and narratively doomed in all of the best ways. Travis and Natalie are two people who cannot help but destroy themselves and each other. Nat and Travis are birds of a feather, which means they have a deep understanding of each other (an understanding they have never received from anyone else), but it also means they have a mutual capacity for self-destruction.

When Travis lashes out after his father’s death, Natalie sees herself. She recognizes that rage, that despair. It’s something that no one else in the group can fully understand or sympathize with, because they haven’t been through the same kind of loss and alienation. But Natalie does understand, and she is the only one who offers him any kind of empathy or care initially. Even when Travis resists, when he pushes her away, she remains steadfast, because, deep down, she knows exactly what it feels like to be abandoned in your pain, to have no one who understands the depth of your grief. It’s this shared history of suffering that makes their connection so strong, yet so toxic. It’s not just about comfort—it’s about two people who have never been allowed to heal properly, and who are only capable of hurting each other as a result. They have the same coping methods: numbing and distraction (whether that be through drugs, sex, or reckless behavior), which causes them to spiral and relapse into their old habits whenever they reconnect.

Natalie describes Travis as "my best friend, the only person I ever loved, the only person who ever really knew me." There is no denying that these two have a deep love for each other. In their light, playful moments in Season 1, you can see what might have been if they had connected before the plane crash. But now they have gone through so much of the same trauma that there is no way for them to be around each other without reminding each other of their shared pain. Nat is a constant reminder to Travis of the loss of his little brother, and Travis is a constant reminder to Nat of the intense guilt of what she did to survive out there. Despite this, they attempt to take care of each other over the course of 25 years. There’s a tragic dance between them: they push each other away, only to pull each other back in, over and over again. The more they try to heal each other, the more they wound one another, and this constant tug-of-war between love and destruction is what makes their relationship so compelling.

One word to describe them: Trauma-bond

Their best scene: Post-Doomcoming hug

"I'm so sorry, I didn't want to. I fucking love you, Natalie."

Jackienat

On an outward, surface level, Natalie and Jackie are polar opposites. Jackie is the classic queen bee—privileged, popular, and used to being admired. Natalie, on the other hand, is the rebellious outcast, rough around the edges and unwilling to conform. The ‘queen bee’ and the ‘burnout’. The ‘prude’ and the ‘slut’. Jackie cares too much, Natalie doesn’t care enough. But, in actuality, these are the cliche labels that have been placed on them/assigned to them by external sources. These are the false fronts they put on to hide the vulnerability underneath. Nat and Jackie are actually much more similar than either of them would probably care to admit.

At the core of their conflicts is jealousy. Jackie envies Natalie's ability to be carefree and unapologetically herself (you can hear genuine admiration in her compliment to Nat, “I love that you don’t care what anyone else thinks. You are so completely yourself). Jackie, for all her outward confidence, is constantly performing the version of herself that others expect, and she longs for the kind of authenticity that Natalie seems to embody. On the other hand, Natalie is jealous of the life Jackie represents—privilege, stability, being adored without having to fight for it. But they’re both deeply insecure in ways that mirror each other. Jackie isn’t as effortlessly perfect as everyone believes, and Natalie isn’t as indifferent as she pretends to be. They are both trapped by expectations, and neither of them truly feels like they belong.

If circumstances had been different, I think they would have actually been very close. Their humor is actually similar—sharp, a little sarcastic, but often disarming. They’re both sarcastic, raspy-voiced little shits and I would have loved to see them play off of each other a little more. My personal headcanon for these two is that they actually used to be very close friends when they were little but grew apart in middle school/high school due to societal expectations. Maybe Jackie used to be more carefree before she learned she had to be perfect, and maybe Natalie used to be softer before she learned no one would protect her. There was no huge falling out, they were just gradually pulled apart over time, placed into their respective roles, and now there’s a part of both of them that quietly misses the other but also feels like the version of themselves that once connected with each other is gone. They just don’t understand each other anymore.

And Nat being the one to lay Jackie’s bones to rest? Rejecting Travis’ offer to come with her so that she could have a moment alone with Jackie to pay her respects, release her jealousy, and apologize? Nat being the one to take Jackie’s position of leadership in the group (the queen bee) after she’s gone? Tragic.

They are the perfect enemies to lovers trope (or, in my opinion, friends to enemies to lovers) that unfortunately will never come to fruition.

One word to describe them: Jealousy

Their best scene: Nat apologizes to Jackie's bones

"You're lucky, you know? I think shit is going to get a lot worse out here. But you're already dead so, way to make everyone jealous of you one last time. I'm sorry, for what we did. Who knows, maybe you could be the reason we survive the winter, so thanks. Rest in peace, Jackie."

—

And if you’re interested, the most-written romantic pairings on ao3 at the time of making this post are as follows: Shauna Shipman/Jackie Taylor (1,564 works), Lottie Matthews/Natalie Scatorccio (1,202 works), Van Palmer/Taissa Turner (1,019 works), Laura Lee/Lottie Matthews (396 works), Misty Quigley/Natalie Scatorccio (258 works), Natalie Scatorccio/Jackie Taylor (185 works), Lottie Matthews/Shauna Shipman (182 works), and Travis Martinez/Natalie Scatorccio (120 works).

[ofdreamsanddoodles]

it's also interesting to me that laios & marcille's shapeshifter clones of each other are both influenced by falin. marcille was told that the siblings looked alike, & expected to meet another falin, so now her mind keeps exaggerating the difference between the two. laios meanwhile was so struck by her devotion to falin & the way she rose his sister from the dead that now he automatically pictures her as more serious and quiet (and with her hair down). something about the two of them being tied together by grief & love for the same person. marcille's feelings on laios is shaped by her thoughts on falin. laios' feelings on marcille are shaped by knowing her first as his sister's friend, and the woman who learned explosion magic just to watch falin's back. they're a three person team with one of the members gone

[oltammefru]

Civilight Eterna is an incredibly incredibly interesting character, and has so so much going on so I thought I'd share my read on her. First off, Civilight Eterna isn't Theresa. Like, at all. In her dialogue, she repeatedly says she's not Theresa, talks about Theresa as a person distinct from her, and seems uncomfortable when the Doctor treats her as if she is Theresa.

The way I see it, she is actually far more like Kal'tsit and Amiya than she is Theresa. Once you accept that, I think Civilight Eterna becomes an incredibly, incredibly interesting character who provides a large amount of great characterization to Theresa.

The real Theresa is dead and gone and erased forever now, but ironically, if anything, after ep14, the narrative is far more haunted by Theresa than it ever was. For the most part, no one is particularly happy with CE being on the landship as she is: for Kal'tsit, who had finally come to terms with her grief and loss, all CE really does is dredge up all the pain and sorrow and hatred she felt about Theresa's death.

For the Doctor, she is a source of self-doubt and guilt over their past sins.

There's also an interesting contrast between her and the Doctor, as CE spells out, with one of them being an existence entirely of memory, and the other having none at all.

Amiya is mostly ok about her, but even for her, CE a reminder of who and what she has lost. She sees CE and understands and sees her not as Theresa, but as something else, but because of her resemblance to Theresa, she can't help but be reminded that Theresa is gone, and she won't be able to see anything she's done or gone through anymore.

Theresa, herself, is gone for good now, but the shadow of her last deed hangs over them all. CE as a character takes the enormous background presence Theresa has in the narrative and she makes it a lot more personal than it already is. As a character, CE takes the ghost of Theresa that's been haunting the narrative in the background and drags it kicking and screaming into the forefront, forcing the main trio to confront it.

The person most haunted by Theresa is Civilight Eterna herself. She was made with the purpose being a replica or substitute of Theresa, with the memories of Theresa, but she's really not her, and she's in fact quite bothered by such a concept. The impression I get from her files is that her arc as a character (provided they give her continued story content and don't just throw her by the wayside) is mostly about her struggles to find an identity for herself beyond the one she was assigned and was made to be (which very much parallels much of Amiya's struggles throughout the her entire character arc!)

In most of the story, Theresa is framed as this, almost mythical, larger-than-life figure, who you hear of often and her legacy greatly influences everything that unfolds, without actually appearing except in brief glimpses and flashbacks (until the story starts peeling back the curtain on her with Babel.) For someone as existent and present as CE is, there is no way that she could actually live up to the legendary figure that Theresa was, nor does she want to. The mythos surrounding Theresa is so great that just by virtue of being made to be like Theresa, this serves to erase any identity or personhood of her own she might have (once again, parallels with Amiya.)

(This is also somewhat painfully ironic on a meta-level. If you engage with CE's content at all, it spells out the fact that she is very much not Theresa, but just because she was made to resemble her, even the playerbase of the game thinks of and sees her as Theresa!).

The thing that's juiciest about this to me is that the relationship she has with Kal'tsit. Kal'tsit is maybe the one person who can truly empathize with CE and her mode of existence: both were made and instilled with some driving, defining purpose, but wish to carve out an identity of their own; both occupy some messy, intermediate state between humanity and inhumanity; and both struggle with the risk of being subsumed by some ideal or identity far beyond what they could possibly be. But instead, Kal'tsit can't bear to see the sight of CE, she gives her the cold shoulder, and is unwilling to meet her eyes. Even if Kal'tsit does understand that CE isn't really Theresa, she can't help but see her and think of Theresa, and for CE, this is incredibly, incredibly alienating, that the one person who should be able to truly understand her and her struggles to find an identity for herself, sees her more as the person she was made in the image of and could never really be, instead of her own person.

In light of the fact that CE's files state Kal'tsit has been avoiding CE is so fucked actually, especially when you think about this in the context of Lone Trail. Lone Trail takes place over an (in-setting) year after CE shows up, and despite this, she is never been mentioned or referenced at all, even obliquely. Has Kal'tsit just been coping about it for an entire year straight*? Like, here's about how I imagine this goes: The Doctor mentions CE to Kal'tsit exactly once and immediately gets the hint to not do so. They don't get a lecture about this. They don't even get a Kal'tsit Stinkface Talksprite. She just looks, however minutely, a slight bit more tired and sad. And so that's the last time they ever bring it up. And the thing is, CE has the same care and love that Theresa had, and she wants so so desperately for the people Theresa (and by extension her) cares about to be happy. And so if the only thing she can do for Kal'tsit is to remain completely out of Kal'tsit's sight, existence unacknowledged, no matter how much she might want to reach out, no matter how soulcrushing and painful it might be to do so, she would do this and bear all the pain, out of the love she has for Kal'tsit.

The main way we see Theresa characterized before Babel and Ep14 is through the things and people she's left behind: the people who lived because she died, a dream, a photo of her snuck when she wasn't looking (she was looking), a flower garden, a letter, a promise, a girl made to bear the weight of the world and an apology to her. CE is the last thing she leaves behind, her last act, her last sin before she exits the story for good. In particular, I think CE as a character is some really good final characterization for Theresa, one that serves to highlight her character flaws.

As a person, Theresa is sort of messy. I mean this specifically in the sense she is a person who does great and grand things, knowing that there will be consequences (both foreseen and unforeseen), and does them anyway, often leaving a mess in the process for others to pick up. In Warfarin's 2nd operator record: her attitude towards Theresa highlights this well, to her, no matter how noble her ideals and how good her intentions might be, the fact of the matter is that she is starting a civil war who which will get people killed. In this regard, I think her creation of CE fits her character perfectly. What she does in episode 14: finally being able to free the Sarkaz from the shackles of Originium, and making CE as a final act of care to Amiya, fulfilling her promise to Amiya to always be with her, but making a huge mess in the process, serves as a perfect capstone to Theresa as a character. Even though she is now gone, the effects of her last choice and legacy still hang over those who knew her.

*Of course it could also be that they wrote LT at a time where there were no plans to have CE be a character at all, but especially when it comes to things like this, HG does generally write things years ahead of time. The ending of Lone Trail does feel very much like it was written with Babel already in mind, and Vigilo was also clearly written with Babel in mind (see: Memoria specifically) despite being released several years before Babel.

[questionablecuttlefish]

Where is Jinx going?

Bilgewater is a strong contender, but don't discount Demacia.

Jinx/Lux is part of it. That's actually the oldest fan ship for Jinx and was the most popular for both of them in fanfic and fan art until Season Two dropped; the common claim that it's a fringe ship or 'only' in Star Guardian is inaccurate. It's been a part of League fandom for a long ass time. It started in 2014 in 'main Runeterra canon' only months after Jinx's launch and before either the Burning Bright video or Ekko existed. It was later boosted in popularity by the Wild Rift trailer, various promotional arts featuring the two together, and later by the Valoran Town animated series released in China. Why? Initially, just pairing the two poster girls of League together, probably, or the classic hero/lancer dynamic of the optimistic 'light' character with the edgy 'dark' character.

But since Lux's comic, the Mageseeker game and then Arcane there are more lore parallels between the two than ever; both are young women struggling with a society that hates them for something they didn't choose to be, both trusted an older mentor with revolutionary ideals who encouraged them to embrace their destructive powers and then betrayed them (Silco/Sylas), both accidentally unleashed their power and got people killed, both triggered a violent revolution, both have a complicated relationship with an older sibling (Vi/Garen). If they are romantic interests or just friends, Lux gets someone who will encourage her to embrace her magic and Jinx gets someone who won't judge her on her past and the potential for conflict and companionship and a very interesting, opposites-but-actually-mirrors dynamic is all there.

It's commonly dismissed by people ignorant of League's history and of the lore of both characters, but it DOES work. If you know, you know. 🦄

Outside of that, though, why Demacia? Doesn't seem like a place our crazy girl Jinx would want to go for any reason, ever, but the end of Arcane makes it more likely than even Bilgewater because at this stage Jinx is trying to cut her ties and move on from her old life. She wants to be:

FAR away from Noxus and Noxian influences (Demacia and Noxus are bitter enemies)

FAR from her "Jinx" identity and all the violence and chaos that stands for (if she wants to disappear and try to put it behind her and heal from her trauma, Demacia big, spacious, and quiet)

FAR away from her family and friends, so she can't be tempted to get involved in their lives and hurt them (as she sees it) again. (Demacia is waaaay over there, a lot farther than Bilgewater)

FAR AWAY from the Arcane that has, from the moment she picked up that first Hexcrystal, ruined her life and taken people she loves (Mylo, Claggor, Vander, Isha, and in a roundabout way, Vi) from her. (Demacia is a kingdom that despises magic and is full of magic-sucking stone made from magic sucking forests)

So I think it will entirely depend on the direction they want to take with Jinx from here. If they want her to continue to be a violent, chaotic crazy girl we know and love, they'll make her a mercenary pirate in Bilgewater, maybe tangle her up with Sarah Fortune's crew.

If they want her to try to turn her back on her "Jinx" identity and heal from her grief in peace and quiet, they'll take her to Demacia and she'll pop up unexpectedly, maybe as a tinkerer, or artisan, trying to reconnect with her Powder side.

This is where she could meet Lux (if they're going the Lightcannon route, which would make more people than you'd think very very happy) or otherwise get drawn out of her peaceful life and into the turmoils gripping Demacia, particularly as the Mage rebellion starts to break out. Particularly if Jinx ends up siding with the rebel mages, or siding with Lux either for or against Sylas's faction and/or the Mageseekers.

She has a bit of experience with being a rebel, she might end up using her experience with Hextech and the Arcane to give those rebels the edge, and "Jinx the reluctant pacifist being drawn back into her old chaotic ways to fight for a cause because deep down, she still longs for the thrills and the chaos and the noise" might be a really cool arc to take her on.

What do you think?

[sapphoscreature]

Caitlyn and the Grey- Symbolism

I think it’s interesting to consider the Grey, within the narrative, as symbolic of Caitlyn’s character arc throughout Act 1, and how she is influenced by and influences the wider context.

The Grey is, I think, a morally grey choice. Its symbolism and use encapsulate the tensions at the time both within Caitlyn’s character and within the wider context of Piltover and Zaun. It also preludes the outcome of Act 1, and where this leads Caitlyn, Piltover, and Zaun.

I’ve tried my best to unpick the threads which twine together in the narrative, but this is only my interpretation and there are aspects I may have missed. Along the same line, I have decided to focus on Caitlyn, so my analysis of why other characters (like Jinx and Vi) make their choices is not as in-depth, and definitely deserve their own analysis.

(I made an earlier post about Caitlyn & the Grey, but some of my wording was a bit shoddy and the analysis not as explored as it could have been. I hope this offers something better.)

Caitlyn- loss, the crown, and vengeance:

Following the attack on the council which kills her mother, Caitlyn is grappling with her emotions.

She feels a deep, deep grief for the loss of her mother. She is also guilt-ridden, blaming herself for not stopping Jinx whilst she could- ‘I had the shot.’

And she is angry. Incredibly angry. Jinx is the target of her anger- literally; Caitlyn fantasises about shooting her. ‘I want to tear that laugh from her throat forever.’ Clearly, she wants some kind of vengeance.

On top of this, she now has the ‘legacy’ of the Kiramman house sitting on her shoulders. Guilt-ridden, she admits to her father she feels neither ready nor deserving of becoming the matriarch. But nonetheless, people are now looking to her. Her father can collapse at the funeral, but she must stand tall. The only people she admits vulnerability to are those closest to her- Jayce and Vi (especially Vi emotionally, crying in her arms).

The crown is heavy, the grief is drowning her, but Caitlyn does recognise that her anger is having a negative influence on her thinking. ‘I know,’ she says to Jayce he expresses alarm at her desire for revenge (this is a line I will come back to later).  

And that self-reflection is important to consider, too. Caitlyn in season 1 is intelligent and perceptive, and recognises in her succinct, direct manner both her own ignorance to and the extent to which the Piltover/Zaun divide stretches. ‘This city needs healing. More than I ever realised.’ ‘Please,’ she asks Ekko, ‘let me help you,’ or else, ‘the cycle of violence will never stop.’

Following the council attack, some kind of conflict does, unfortunately, seem inevitable between the two cities. Whether this be all-out war or not, the cycle continues. But whilst Caitlyn is impacted by the attack, she retains being driven by the same empathy and perception which made her open to recognising her own ignorance.

Both Caitlyn and Mel are reluctant that a full-scale invasion of Zaun occur, knowing this was the act of a ‘single deranged individual’ and that ‘innocents could be caught in the cross fire.’

With Ambessa’s interjection, however, the invasion is set to go ahead, although without the use of Hextech.

Ambessa fans flames further by aiding the chem-baron attack on the memorial service. And this attack exacerbates all of Caitlyn’s negative emotions.

The pressure on her shoulders as the Kiramman heir, her guilt, her grief. Her anger, absolutely. I think that this is when they become the prevailing emotions which influence her choices and cloud her self-perception, as well as her perception of others.  

And this is when things get grey.

Establishing the Strike team:

Caitlyn and Vi’s relationship in Act 1 definitely deserves its own deep dive. I’m painfully aware I’m not giving it the attention it deserves here. But, for the sake of brevity, I think, for Caitlyn, Vi anchors her to the self-reflection she is beginning to lose sight of.

Following the memorial attack, Vi is looking for the Caitlyn she knows, the Caitlyn who took on the council in season 1. The Caitlyn who, after that failed, was ready to make a new plan and ‘fix’ things. The Caitlyn who was a misfit to her own society. The Caitlyn she fell for.

But Caitlyn is hemmed in by the Kiramman pressure and her emotional struggles. Vi urges her to stop the invasion- this will only lead to more hurt on both sides- but Caitlyn cannot think of how to ‘fix’ things. ‘She dies and leaves this giant hole, and I’m just supposed to fill it.’

She needs Vi to anchor her. ‘Everything is falling apart,’ she laments. ‘We won’t let it,’ Vi promises. She retains that connection, that grounding and belief in Caitlyn, in the woman she knows (and loves). They can stop the invasion, take matters into their own hands.

This holding onto their optimism to ‘fix’ things remains important, even as tensions are incredibly heightened after the memorial attack. Even as they are trapped in these tensions, part of the cycle. The choices they make becoming part of the cycle.

It’s a battle within itself. Vi is trying to hold onto Caitlyn for as long as she can throughout Act 1. And Caitlyn is still there, but she is battling with herself. With her grief, guilt, and anger.

And as they devise their plan, we see Caitlyn at the Kiramman archives. She is taking up the mantle. She uses the literal symbol of her family- their key- to discover the archives, the vents, and the Grey.

The Grey reflects back on her face, her pensive expression. In an earlier post, I said this represented the dark path Caitlyn is going down. However, I think it is more complex. I think it reflects her struggling to grapple with her emotions and the pressure and tension of the current situation and how these are convincing her to make a morally grey choice.

It is important to place the establishment of the strike team and their use of the Grey within this context.

The Strike Team and the Grey

The Grey is indicative to me of the situation in which it is used. This is reflected in how it is used, and in its very nature itself. It is a morally grey action because of the what, why, and how.

The wider context is also important, and we are invited by the framing to consider the comparisons and contrasts in the strike team’s use of the Grey the historical precedent of its presence in Zaun.

I want to explore what the Grey actually is and the strike team’s use of the Grey first before turning to Caitlyn specifically and why she chooses the Grey and what it represents.

There are a lot of layers you could consider when breaking down the moral greyness of the Grey. In the process of writing this I saw more and more from other people (I will link an interesting reddit post at the end). I have included some, but I think I’d rather this just add to the conversation than be in any way an attempt to make a ‘definitive’ post about the Grey.

Zaun: Context:

First, a brief summary of what is happening in Zaun when the strike team enters to provide context.

Jinx puts it best- ‘it’s all going to shit.’ Fighting has broken out amongst the chem-barons now vying for power in the vacuum Silco has left. The ‘Sucker’ sequence shows fighting on the streets, fires breaking out. Children like Isha are running from the chem-barons’ goons, part of the child labour they employ in the shimmer factories. The Firelights are bringing people to their safe haven because of all the fighting. Deaths are referenced in a meeting with the chem-barons organised by Sevika.

Sevika calls these ‘turf wars.’ I have inferred that different chem-barons control different areas of the city- ‘you started this dance when you raided the Rapturewalk.’ Innocents are getting hurt because the conflict is in the city itself.

(I will discuss Jinx later)

What is the Grey?

There is actually a lot of grey area when it comes to the Grey in the specifics. But we do know:

Air in the fissures became increasingly toxic owing to the rise of industry, this toxic air became known as the Grey

This can lead to negative physical effects- reddened eyes, irritation of the lungs; long periods of exposure can lead to the deterioration of the affected areas

Kirammans installed ventilation systems to prevent the air from being so polluted  

We do not know whose industry created such pollution. We do not see anyone die as a direct result of the Grey, but clearly, ‘factory smog’ is not a healthy thing to be breathing in over long periods of time. 

How do the strike team use the Grey?

The strike team have three key objectives:   

Locate Jinx

Dismantle shimmer

Neutralise any agents still loyal to Silco

The Grey is used by them to target these three objectives. We are shown this both in episode 2 and through the ‘Hellfire’ sequence in episode 3. They deploy the Grey on Silco’s goons, then the chembarons’ bases and the shimmer factory (destroying amounts of shimmer), before seeking out Jinx in the arcade.

To an extent, their actions could actually benefit Zaun. Destroying shimmer, something which stems from the damage Cait and Vi see shimmer cause, because of Silco and Singed, during season 1, would be to destabilise the power struggle going on between the chem-barons causing violence on the streets.

The literal use of the grey does de-escalate the violence. When chembaron Smeech reaches chembaron Margot’s base (a big statue of her face- someone’s got power), he comments that the Grey has ‘cleared the place out. Might have made our jobs a lot easier.’ They were anticipating confrontation, but it has been prevented.

The use of the Grey is not a long-term nor Zaun-wide affair. The strike team moves from one spot to another (using the vents to do so, something you could argue allows them an element of surprise on their targets which prevents them from fleeing to a place where innocents might be put in direct danger, and also prevents alarm among people at the sight of the strike team in Zaun), targeting the chembarons and their lackeys who monopolised the streets of Zaun for their violence and shimmer trade.

The Grey seeps from Margot’s base but the street itself is not flooded. As the strike team enter the arcade the Grey seeps in, but when Jinx escapes afterwards, the street outside is clear.

The Grey is used as part of a mission targeting specific objectives to prevent a full-scale invasion which could put civilians in danger.

And yet, the Grey is used. It functions as a weapon to debilitate their targets. It has unpleasant side effects, which alongside the strike team’s use of violence with their Hextech weaponry, allow them to incapacitate their targets.

(We can’t be sure how long the Grey takes to dissipate, or how long the chembarons’ people are exposed- we see some of the same characters at Sevika’s rally in episode 4, and they appear physically fine; I interpret it as short bursts of exposure- Caitlyn has control over the stopping and starting of the fans in the vents- we see her pulling levers, twisting handles).

The framing invites us to consider this morally grey approach through comparing and contrasting the strike team’s use of the Grey to its historical precedent in Zaun.

The Kiramman archive illustrations present it as a monster, a billowing mass which swallows Zaun. Through the eyes of both Jinx and Heenot, Smeech’s lackey, it also appears as such, as do the strike team who emerge from it.

This emphasises its harmful potential, which comes, more crucially, from the fear it derives. Vi argues with Jinx that they used the Grey to ‘clear the streets. To keep people safe.’ The violence has been de-escalated, there are no civilians being directly harmed by the Grey, but it has based itself on this fear owing to the historical precedent of the Grey in Zaun.

And yet you can also contrast. That the strike team are presented as part of the monster suggests they control the dissemination of the Grey, contrasting with the swamping monster, out of control, which floods through all of Zaun in the historical images.

A frame of Silco’s goons running from the strike team and their cloud of Grey is immediately followed by an historical image of innocents Zaunites running from a billowing beast. We are seeing once again the historical precedent of fear, but we are also noticing the differences- the Grey is controlled by the strike team, it follows them, and the only people in the frame are Silco’s goons, no innocent civilians.

(Once again, we don’t know how far it could spread but as others have suggested, the thick air of the undercity could impede its progress, and it never makes it down to the Firelight base. Combined with the targeted use, I think it is fair to therefore make this contrast).

All of this illustrates my earlier argument- the Grey is indicative of the situation in which it is used. The objectives of the strike team which could benefit Zaun intertwine with a way of going about those objectives which is morally grey and therefore underlines how the characters and their choices are becoming enveloped into the historic cycles of tension and violence which exist between Piltover and Zaun.

This neither makes them good nor evil- they are morally grey. It represents their interactions with their wider context, how they are influenced and influencing the wider context.

It represents how Caitlyn is doing this, how she is morally grey.

So why does she make this choice? What is influencing her which makes the good objectives of the strike team tainted so grey?

Caitlyn- Why choose the Grey?

‘Can I do the right thing for the wrong reasons? Is it bad that I’m making friends with my demons?’ - 'Hellfire'

What is key for me about the Grey in the narrative is how it symbolises Caitlyn’s emotions, her mental state. The Grey is a pollutant, and how its smog affects the physical body is a reflection of how Caitlyn’s emotions are affecting her mentally, and therefore how she in turn interacts with the wider context.

As I said earlier, the memorial attack exacerbates her anger, which is in turn exacerbated by her grief, her guilt, and the pressure of the Kiramman name.

As the strike team conduct their mission, we see how Caitlyn’s negative emotions influence her choices and cloud her self-perception, as well as her perception of others. This, for me, is why the Grey is the weapon of choice within the narrative.  

There are literal considerations you could take into account as to the why, and I’ve sort of explored these in the how- preferable to full-scale invasion, vents allow for targeted use, short-span use non-fatal etc. But for me the symbolic nature of the Grey reflecting Caitlyn’s emotions, and crucially how these push her to make morally grey decisions, is what defines the why- the above lyrics to ‘Hellfire’ encapsulates this nicely.

So, what is the ‘wrong reason’?

Vengeance:

Vengeance. That is what Caitlyn wants. Vengeance against Jinx.

It is born, crucially, from her grief, her guilt. It stokes her anger and soon becomes an all-encompassing smog which clouds Caitlyn’s thinking.

Jinx remains the spectre of Caitlyn’s fantasy as the strike team carry out their mission. She appears as a silhouette in the vents. She taunts them in the arcade with the shooting game. Caitlyn hyperventilates before taking a shot at a figure which mirrors her earlier fantasy in her hideaway. The impact frame of her eyes is pretty disturbing, evocative of how twisted Caitlyn’s mental state is becoming the longer Jinx remains elusive.

She becomes increasingly aggressive as their hunt continues. She shoves wanted posters in the chembarons’ people’s faces. She is cold and threatening with Heenot. And the ‘Hellfire’ sequence makes clear just how vengeance is twisting her as she appears a figure tinted red, eyes fiery.

Caitlyn is losing sight of herself. Losing sight of the wider context. This is affecting how she treats others.

Recall her conversation with Jayce in the hideaway, his alarm at her anger. ‘I know,’ she acknowledges, and confesses, ‘I just understand now how easy it is to hate them,’ she admits. The attack on the council has made bolder the line of divide cycles of violence bring- ‘them’- but Caitlyn is hanging onto her self-perception.

But the memorial attack changes things. ‘Animals,’ she calls the attackers. This dehumanising word demonstrates how much Caitlyn is losing sight of herself. Her empathy, her prior reluctance to see any difference, on a human level, between Piltover and Zaun (hiding in Vi’s childhood home in season 1 she says, ‘we’re people, just like you’).

Losing sight of the humanity in others means Caitlyn is also losing sight of herself. Her own humanity. And, if the Grey is depicted as a monster, and the monster is reflecting Caitlyn (and under her control), this says a lot about how vengeance is twisting her thinking, suffocating her person, and causing her to contribute to cycles which divide and hurt.

‘Leader of House Kiramman’:

This ‘losing’ of identity can be reflected further, I think, in how Caitlyn’s personal motives define her using the Kiramman name, her first taking up the mantle.

She utilises the power of her family name to assert her choices over the council. Once again, it is important to consider that this does prevent the full-scale invasion, but I think it is fair to argue Caitlyn is also being influenced by her need for vengeance. The Kiramman name is tool, a key, which can get her what she wants.

And I think it is interesting to consider how her reversing the helpful intentions of her ancestors in installing the vents, utilising the Grey instead of dispelling it, represents both Caitlyn losing sight of herself and her prior issues with her family name.

‘I know you doubt the merit of your birthright, Caitlyn,’ Cassandra says. In season 1, we see her resisting the stifling confines of what her mother expects and wants for her. She is a misfit.

After Cassandra’s death, the pressure of the name Caitlyn does not even want bears down on her, along with the guilt of perceiving herself as complicit in her mother’s death.

And Caitlyn struggles under this weight until the Kiramman name is twisted, too, into a tool not dissimilar to the Grey. She is not yet ready for the responsibility and how such power and privilege affect both Piltover and Zaun. It is her ‘legacy,’ but Caitlyn is losing herself.

This is even more impactful when considering that many of Caitlyn’s issues and arguments with her mother derive from her being a reluctant and unwilling heir. The Kiramman name came between them in life, and in death is twisted, as Caitlyn’s grief and love for her mother become twisted themselves by vengeance.  

There is irony in learning the Kirammans helped the undercity with the vents, something altruistic similar to Caitlyn’s own values when she is not choking on grief and vengeance. But the placing of the crown on her head happens at the hands of tragedy, and it rests twistedly for now.

The Grey becomes Black and White:

This is all key in why I think the Grey, what it represents, and how it is used, act as a prelude to the culmination of Act 1- Caitlyn’s appointment as commander.

Ambessa is impressed with Caitlyn’s assertion in the bunker, observant of her grief (and Salo’s) after the council attack, and perceptive of the power of the Kiramman name. As Salo says, ‘it bewitches people.’

By the end of Act 1, Caitlyn has failed to capture Jinx and left Vi after feeling betrayed by her for stopping her from shooting Jinx, therefore endangering Isha. By this point, I think there is no stopping the sliding slope into the black and white brooding figure of vengeance we see in the ‘Paint the Town Blue’ sequence.

She is choking on her emotions, and with Vi, her anchor, gone, is ripe for Ambessa’s picking. Caitlyn needs direction and Ambessa is offering it to her. She promises Caitlyn the thing which has slowly consumed her over the course of Act 1- vengeance. She steps further down this course.

Thus, grey turns to black and white. Caitlyn becomes complicit in, is the face of, the Piltover/Noxian occupation of Zaun, the violence this brings. Caitlyn has lost sight of herself in her hunt for Jinx and therefore others are harmed for her purposes (and Ambessa’s).

Caitlyn comes back to herself, slowly (from episode 4 we see her grappling her position), although of course, remains permanently changed (it’s interesting how the vengeance and idea of either doing the ‘wrong thing for the right reason’ or 'right thing for the wrong reason’ follow on in act 2 but that’s not my focus here).

Jinx and the Retaliation:

I think Jinx’s retaliation to the strike team’s mission and their use of the Grey underlines how its moral greyness feeds into the cycles of violence (I’m only going to analyse here her actions in relation to Caitlyn’s- this is already way too long and she deserves her own post).

Jinx is, like Caitlyn, motivated by her emotions, particularly related to Vi and her upset at seeing her as part of the strike team. She tells Sevika she is going to ‘finish what’s left of her family’ after their fight with Smeech, referring to their confrontation in the Temple of Janna.

She retaliates against the strike team to do so- setting trigger explosives in the vents, hanging vivisected dolls of them from a propellor she ties Heenot to in the first step of luring them down to the temple.

He says, ‘Jinx is off the rails, even for her. She’s got a real fire lit under her ass. She’s planning something big, right here in the pipeworks. She was heading towards the old tunnels. Something about rerouting the vents.’

Jinx begins using the Grey against the strike team. She breaks a pipe and, along with arrows, uses it to lead them to the temple. And, most significantly, at the conclusion of the fight, Sevika triggers explosives which puts Jinx’s ‘big’ plan into action. The rerouted vents drive the Grey up into Piltover, where it explodes in great plumes which flood streets and paint the town in a multicolour splash.

The cycles of violence have continued. Caitlyn wanted vengeance on Jinx, but Jinx has retaliated right back. In light of the ways in which Caitlyn and Jinx parallel each other near constantly throughout ‘Arcane’ (especially in season 2), I think this is suggestive of the futile nature of vengeance.

‘An eye for an eye,’ and you lose sight of yourself. Caitlyn’s hideaway is blasted with the Grey, the wind chime feature which had represented her feelings in episode 1 broken. There is no more space in herself, at this time, to piece apart her thoughts.

And the attack on Piltover allows Ambessa to consolidate her position as Piltover’s saviour and assert her will.   

There is so much more you could say about Jinx and Caitlyn, especially because of how they parallel each other constantly throughout the show (how their uses of the Grey contribute to them becoming symbols of something of which they are doubtful is really fascinating to me), but for the purposes of this deep dive on the Grey, I hope this suffices.

Conclusion:

The conflict which so much defines the shared history of Piltover and Zaun is growing steadily more volatile during act 1, and it is interesting to piece apart how characters impact upon this- there are good intentions in the strike team’s mission, but these are inseparable from the morally grey means through which they go about it.

Means influenced by emotions which have grown from the prior continuance of the cycles of violence. ‘Arcane’ is a tragedy, and there is certainly tragedy in watching Caitlyn be so changed by events.

The Grey is a reflection, a symbolic representation, of how Caitlyn changes throughout Act 1. How she is influenced by and influences other characters, and the impact this all has on the wider context. The morally grey path she goes down in her quest for vengeance.

By act 3, we see her having realised the error of her ways, knowing what she has done cannot be erased, but willing to fight against cycles of violence, walk away from her vengeance, and ‘trust in tomorrow.’

But in the smog of the conflict, everything seems grey.

I hope this exploration of the symbolism of the Grey was interesting. If you’ve reached the end of this, thank you so much for reading- I realise it is really long. I’m just very much fascinated with this show, so… I appreciate it!  

Reference: the reddit post: https://www.reddit.com/r/arcane/comments/1grizex/s2_spoilers_a_lot_of_people_are_misinterpreting/?share_id=6QplLMckmb2t4DnH3uGfw&utm_content=1&utm_medium=android_app&utm_name=androidcss&utm_source=share&utm_term=1&rdt=56152

[greenfiend]

The Nested Universes Theory

and the high chance of a very literal bitter/sweet ending…

Yes, Will and Mike will end up together, but their ending may be both happy and tragic simultaneously.

(This theory may explain why the cast and Netflix executives were crying heavily when informed of the show’s ending…)

I'm warning you guys, take care of yourself while reading this. This isn't an easy read.

CW: CSA, sex, drugs, HIV/AIDS, period typical homophobia, death

Framed Narratives/Stories

Framed narratives are basically a story within a story. Common examples of this are the movie “The Princess Bride” and “Titanic”. Both stories have the story of the narrator and the story within.

Another example is Stranger Things itself. When we see the boys playing Dungeons and Dragons, they are creating a story within a story.

Sometimes, framed narratives are nested, meaning multiple layers of storytelling. An example of this would be the movie “Inception”. In that movie there are dreams within dreams within dreams… It’s a complex but fascinating way to tell stories.

Now, I do think Stranger Things is also a nested narrative story. Meaning, there may be a layer of a story that hasn’t been revealed to us yet (or more than one).

Basically I’m saying: the show itself may be a story created by some of the characters.

I’m guessing two characters in particular. Which two characters? The two most associated with creating stories. The writer and artist. Two of the characters that have existed since the show’s inception.

Mike and Will.

Multiple Universes

I do think there are multiple timelines/universes within Stranger Things… but it’s not exactly what you think. It’s not parallel universes/timelines. They do not exist parallel to each other, they exist within each other.

This is the reason for the “memory within a memory”, “play within a play” references.

It’s a story within a story within a story.

While Mike and Will are creating their DnD campaigns, there is another version of Mike and Will creating the story we see within the show.

Let’s break it down:

Inner layer: Mike and Will’s characters existing within a DnD campaign

Middle layer: Mike and Will within the show creating the DnD campaign

Outer layer: Mike and Will creating the story of the show

Mike and Will’s story within the frame (the outer layer) likely does share a lot in common with the story within the show, with one major difference:

There’s no Upside Down, and no supernatural elements. No superpowers, and no superheroes. There are still monster(s) and heroes, but these monsters and heroes are real.

Living on as “Heroes”

Ever notice the association between characters being referred to as “a hero” after facing their demise?

We have seen this time and time again. It’s not a coincidence, it’s a pattern.

Love for horror and escapism

@threemanoperation has a great post on Will’s love for horror.

It makes perfect sense for a boy like Will to enjoy horror. It can be a great way to process trauma and grief.

We also know even from the earliest descriptions for Mike and Will’s characters that they both love to “escape” into fantasy. They do this together, through DnD.

Gods/Puppet Masters/Creators

Within the show, there are many subtle nods to Will and Mike somehow controlling/manipulating things. These hints have lead to many interesting theories about Mike and/or Will having powers. In a sense, they both are absolutely right! But if this theory is correct, their influence over the show is mainly due to them creating it. They’re the authors, so in a way, they’re both “Gods”.

Solving the “Letter to Willy”/Lettergate puzzle

"Letter to Willy" is a song that plays over three different scenes within ST4. Each scene involves regrets, and survivor's guilt.

Max mourns Billy and reads out her letter "before it's too late" aka before she dies too.

Mike and Will have a heart-to-heart and Mike expresses guilt over El leaving, thinking there was more he could have done. This occurs while they are burying a dead man's body.

Dustin tells Eddie's uncle that Eddie died a hero, despite what the town thought.

This all leads back to Mike and Will within the story's outer layer. This also connects with the writer's incomplete letter they posted years ago on Twitter. I'll get back to this.

A father infecting his child

Oh boy. I hate this part but it requires context so…

Hopper admits to indirectly causing the death of his daughter, Sarah. He had been exposed to Agent Orange which led to his daughter developing cancer at a young age. He has remorse and has been grieving Sarah this whole time.

Now, Hopper is a decent guy and father, and is written as an almost “fix it” version of Mike and Will’s own fathers. He isn’t perfect, but he’s a man who strives to grow and improve himself.

Papa, is not a decent guy, and we also see him injecting El and Henry with needles.

So, what I’m saying is that this may be a hint to what happened to Will (in the 99/100 timeline). Lonnie is hinted to be a drug user, and it wouldn’t be far fetched to say he may have used IV drugs. Exposure to IV drugs is a way to transmit diseases, as blood may be exchanged through contaminated needles. Also, Lonnie has been hinted at, through subtext, to be a horrible monster. (<- click that link for a post about him.)

The “1/100” Timeline

The show itself is the 1 out of 100 timeline. It is the only one where Will was not kidnapped by his parent/guardian (Lonnie).

This means, it is the one where none of the tragic stuff ever happened, specifically to Will and Mike’s story at least. They may encounter challenges, but nothing they cannot overcome together, as a team.

1983: The Demogorgon got Will. He survives the horrors done to him in the Upside Down… but barely. He is taken to the hospital and heals from it all, including flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the Mind Flayer’s possession of him. But with the love of his family, and Mike, is able to return back to his reality.

1985: He then begins to struggle with the pressures of growing up, and having to move away. Plus the Mind Flayer returns and reeks more havoc.

1986: He then moves to a pleasant place. Where things are sunny and warm. Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. Henry/1/Vecna. This opportunistic threat preys on the weak and begins to take over Hawkins.

1987-1989: Will is back in Hawkins and his ties to the Upside Down increase. He can’t shake it off as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). They eventually are able to stop the contamination of Hawkins, and save everyone. Will also realizes that he has developed superpowers from his time in the Upside Down, through his blood. Mike also develops superpowers, given to him by Will.

Okay… you might understand where I’m going with this but I still must warn you before reading the next part. It’s devastatingly tragic.

The “99/100” Timeline

(I’m probably wrong on some of these details but this is what I theorize thus far):

1983: Lonnie “got” Will (CSA). Will survives the horrors done to him by his father… but barely. He is taken to the hospital and heals from it all and from flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the flashbacks of his father’s possession of him. But with the love of his family, and Mike, is able to return back to reality.

1985: He then begins to struggle with the pressures of growing up. Plus the memories of Lonnie return and reek more havoc.

1986: Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. HIV -> AIDS. Opportunistic infections slowly begin to prey on Will.

1987-?: Will can’t shake off colds and infections as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). Will soon discovers he has HIV/AIDS, which he had transmitted to Mike. Devastated by the news, they do everything they can to fight it together. They cope through creating a DnD campaign together to process everything they’ve gone through. They play DnD in Mike’s basement until Will’s condition becomes critical. Will is forced to stay in the hospital, while Mike is unable to visit (strict rules about visitation due to the disease and because they aren’t/cannot be considered legal partners). So, Mike does the only thing he can do: he writes letters to Will and continues the story. Mike eventually loses Will, for real this time. He’s devastated, and plagued with grief, depression, and survivor’s guilt. He didn’t complete their story in time. But his family and friends support him and encourage him to finish the story. To change the ending before his time runs out too. He completes their story himself, and reads his final letter to Will’s grave.

“anyway I think you’ll like [the ending]. sorry I couldn’t get it done [on time] but you mean so [much to me] and it’s been [so hard being without you] hope this is [enough to] last until [we meet again]. Love, [Mike].”

Attached to this letter is the full campaign. The full story of the show itself, which started on November 6th, 1983. He successfully turned back the clock, and changed their ending. They became superheroes within their story, saving Hawkins with their love. Mike dies soon after and we are met with…

Mike and Will reuniting within their own story. Blue meeting yellow at a gate, one final time, that leads “into the west”.

They continue their story and it’s a never ending story… Living on as heroes, forever and ever.

Some thoughts:

To simplify things, I didn’t include other characters much here but they likely all play an important role in the story. Many characters likely only exist within the mid layer (the 1/100 timeline).

I do think their story likely will be published, and this will be done by another character (my guess is Lucas). Their story will impact others profoundly, perhaps completely altering perspectives. This will lead towards positive change, and increase pressure for the development of a “cure”.

Lonnie obviously dies too, but we won’t see it. He’s significant but irrelevant. We don’t need to see him. Perhaps he rots in jail.

If characters like Nancy, Jonathan, Joyce, and Hopper all exist within the outer layer (the 99/100 timeline) in a similar way, they too may be inflicted with HIV/AIDS. Remember, it wasn’t just gay men, everyone was affected by this awful epidemic.

The time period is super relevant in this story. There’s no way that HIV/AIDS will not play an important role. Think about it… it revolves around two gay boys growing up during that time. This epidemic was widespread and terrifying. Had they been born a decade later, there would have been treatments/“cures” accessible to them.

The biggest reason why I strongly believe this theory is because… this is basically the ending of Stranger Things season 1, on a much grander scale. Think about it. Mike changed the ending of the DnD campaign so Will could be a hero, not a victim. This was further established in the comics.

While Mike and Will within the outer layer (99/100) have a tragic ending, Mike and Will within the show (1/100) do not. They beat the odds. Although it is undeniably a tragic end, remember that somewhere out there Mike and Will are still playing DnD and Nintendo for the rest of their lives.

Free Will and Writing your Own Ending

Free will has always been a reoccurring theme within Stranger Things; meaning we can choose our own destiny, fight chance, and beat the odds.

Do we truly have free will though? Obviously, we don’t know. The point is, we should still live life as if we do have it. To take control where we can, and not let external forces dictate who we are and what our destiny is. I think that’s the message there.

[sunderwight]

Honestly fascinated trying to figure out how both of Ambessa's kids ended up being diametrically opposed to her whole jock spartan might-makes-right mentality.

Tthe obvious answer, of course, is that Ambessa's husband (Kino's dad, and the guy Mel thought was her bio dad until recently) was way more of a diplomat and way less of a fighter, both philosophically as well as in terms of skill. And that he's the one who passed this on to the kids.

This fits well enough as an answer. The guy in the portrait certainly looks more like a talker than a fighter, and we know that Ambessa has a thing for pretty, submissive men thanks to her whole introduction in S1. Also, regardless of Mel's genetics this is presumably the man who raised her and is her father in the "nurture" sense of the equation, so it would be completely reasonable for her to take after him.

However, there are a few issues here.

One is the fact that even when Mel is talking to who she thinks is Kino about the possibility of one of them being a bastard, or of a bastard half-sibling existing, neither of them mention their father at all. While I doubt either of them would hold illusions about Ambessa remaining faithful to a spouse (for all we know the guy's still alive while she's off carousing with twinks), you would think that if both kids were close to their dad or took after him particularly, there'd be at least a passing mention of him in the midst of this discussion.

Maybe Mr. Medarda died a long time ago, though. Perhaps it's a topic so buried that it's an established habit to simply never mention it. Or maybe there is an issue of estrangement between him and his children for other reasons. He doesn't seem to have factored into Ambessa's decision to send Mel away, nor is his potential grief brought up around the subject of Kino. Despite confirmation of his existence, he seems (ironically) to be out of the picture, though it could also just be that the writers wanted to leave their options open for what he might be like in case another Arcane-adjacent series comes into production. I am fairly sure that Mel is the most likely character from Arcane to create continuity into a show about Noxus or Demacia or something, if we get another LoL series, especially since her story feels the most unfinished.

However, there's another possibility, which is that Mr. Medarda up there was such a nonentity in his kids lives that he doesn't come up because there's not much of a relationship to acknowledge. In which case, even if he is more of a diplomat (and he and Ambessa were a political marriage, presumably?) it'd be hard to credit him with influencing the kids so significantly.

One of the interesting things about Mel and Kino is that even though they are at odds with their mother on a lot of topics, topics that even seem to tie into prevailing Noxian cultural ideals (so, things they'd have been overall raised to believe in by the rest of their house and not just their mother too), they are also kind of astonishingly confident in expressing themselves?

So, somebody must have been supporting their alternative viewpoints and validating them as opinions worth expressing, even if they weren't things Ambessa approved of or actually wanted to foster in them as opinions/philosophies.

I think an interesting option is that it was Ambessa herself who did this, actually.

Ambessa's lore mentions that she figured out really early on that Kino did not share her temperament at all. Also, that she started searching about for ways of ensuring not only her house's domination, but the survival of her children specifically. Because the succession in a Noxian noble house doesn't seem to be guaranteed by birthright, which means that Kino and Mel would probably face rivals from their own family if they seemed too weak or vulnerable to lead, and someone else contested it. An easy way to remove a "weak" leader would also be to just kill them off. That's even apart from external rivals (like the ones who actually did kill Kino).

Which means that even if her kids had different values and priorities, Ambessa would probably have wanted them to still present those opinions with ferocity and confidence. If they cower to her, they will cower to others, and that's worse than them just not being aggressive combatants or warlord types. If you're gonna be a peacenik weirdo (by Ambessa's standards) in Noxus then you better damn well still be an assertive one.

I like this idea partly because the image of Ambessa trying to balance her kids having totally alien opinions about things like the value of life and importance of compassion, with trying not to actually beat down their spirits about it. Just spending a lot of their formative years being like, ugh, I have to listen to my nerd ass loser children tell me why they think mercy is a good idea. Such a fucking chore. Anyway great job presenting your arguments kids, lots to think about, let's go get ice cream. Then Mother has to fire one of your military tactics instructors for daring to call you a couple of wieners. Again. Even though she's right.

[snixkers]

Crushed Walnuts

Pairing: Spencer Reid × GN!Reader

Angst

For: Anonymous Request

Content Warnings: Character death, gunshot wound, loss of blood, grief, funeral, NO HAPPY ENDING

Summary: You fade in and out while Spencer tries to keep you alive.

Author's Note: Tissues at the ready. I'm experimenting with writing style and trying to improve how I write grief so enjoy!!!

Feedback is always welcome!

Requests are OPEN!

You rolled onto your side, vaguely aware of your team's muffled yells around you. The shot rang in your ears, rattling around your brain and causing your vision to wobble.

As you started to regain consciousness, you saw Spencer crouch down beside you, pressing on your chest.

Spencer.

Your breath hitched when you saw him. He was always so nice to you, telling you random things he’d learned and filling up your coffee for you.

(He did that for everyone because that’s the kind of person he was, but you liked to imagine that he took as much pleasure in your morning routine as you did.)

The best part of work was walking into the bullpen and seeing his smile.

Where was his smile?

He was panicked now, and his hands were shaking as he pressed on the red-hot spot.

“Hey, stay with…”

★★★★★

“...me personally, I think Gattaca is one of the most accurate sci-fi movies.”

You tilted your head, giving up on your paperwork to listen to his voice.

“I’ve never seen it. I’m not much of a sci-fi person.”

His smile widened, and he quickly leaned forward.

“Oh, you’re missing out! Sci-fi is one of the most interesting genres of film and literature there is. Some advancements in technology were directly influenced by fiction.”

You shook your head. “Unfortunately, I’m more of a rom-com person.”

He took a sip of his vile coffee.

“Did you know the first romantic comedy was released in 1924?”

You shook your head again. He always knew things you never even considered.

“I prefer to watch things that have been released within the past few decades.”

He sighed again, wiping a smudge of coffee ground off the bottom of his mug.

“You’re missing…”

★★★★☆

“...out. They’re going in and out!”

You blinked again, groaning at the pinching pain in your ribs. You could see the panic in his eyes, tears forming as he called for backup. You went to sit up, but he pushed you back down.

“Stay where you are. You’re losing a lot of blood.”

His voice cracked slightly at the end, something that usually happened when he was happy. But there was no joy in his expression as you both stared down at the bloody wound in your chest.

“When did I get hit?”

He frowned, elevating your head to keep you conscious.

“A few minutes ago. Don’t worry, an ambulance is on the…”

★★★☆☆

“...way back in 10,000 BC, the first ancestors of the modern walnut started growing.”

You paused, your hand halfway to your mouth.

“That long?”

He nodded, eager to share his never-ending flow of information.

“Mhm. They were brought over by Chinese merchants.”

You popped a few in your mouth, chewing slowly.

“Well, they’re really good. I could eat them for hours and never get…"

★★☆☆☆

“...tired.”

You heard your voice from far away, watching the panic in his eyes increase.

“No, I need you to stay awake. Don’t die on me, okay? I don’t want to lose you.”

His voice grew fainter, and you could hear your thready heartbeat in your ears.

“Stay with me. Do you…”

★☆☆☆☆

“...understand Korean? There's a film festival in town this weekend.”

You smiled gratefully, watching him stumble over his words.

“I wouldn’t get any of it.”

“Oh, you wouldn’t need to. I can translate everything for you in real-time.”

You blushed at the thought of him whispering in your ear, hoping he didn’t notice anything.

“Yeah, sure.”

The nerves quickly left his body and he sighed in relief.

“Perfect. It’s a date.”

Realizing his words, he quickly headed toward the elevator, pressing the button for the ground floor. You hesitated before stepping after him.

“When you said date, you meant as friends, right?”

He turned around, flashing you a more subdued smile.

“Yeah, of course. I don’t know why I said that. Sometimes I don't even know what I'm...”

☆☆☆☆☆

“...thinking of you all the time. And I miss the way that you listened, and how you used to make me feel. And every time I do a crossword, I look for things you like. Liked. I don’t know if I’ll ever get over you. Um, that’s all.”

He stepped down from the podium, making his way back to his seat in the front row. The shadows under his eyes were darker than usual, his hair was greasy and unwashed, and he hadn't eaten in days.

He knew if you saw him, you’d worry and tell him to take care of himself. But sitting in front of your fresh grave as another team member came to say some more remarks, he couldn’t bring himself to care.

[v-a-l]

Hi! I was just thinking about what made Hermione come to the conclusion that Sirius wants to live through them. Now I last read OOTP a month ago, but I can't remember anything from the conversation that suggests that he wants to live through them, he only said that they should know how to defend themselves because of the environment that will come and that is why the DA is a good idea. And even if Hermione was influenced by Molly during the summer what makes her think that the DA is a bad idea after Sirius says it's a good idea? He gave valid reasons why it is a good idea. Hermione is very smart but this scene just felt and she felt ooc here.

I know that sometimes JKR used characters like Hermione and Dumbledore as spokespersons about what she wanted the audience to know that's why we get Hermione saying that but if that's what she wanted us to think, she did a poor job because Sirius actually kind of right and it makes Hermione look biased against Sirius.

Same with Dumbledore in that conversation with Harry after Sirius's death and it sucks. She wanted us to think Sirius saw Kreacher as inferior because of his species but that's not true at all. Now, some scenes with Sirius and Kreacher made me uncomfortable and I am not going to lie about it. But Sirius hated Kreacher because he was a part of his abusive childhood and repeated the same bigoted stuff his family thought and let's not forget Sirius only got violent with him when he called Hermione a slur. So Dumbledore saying that just feels so ooc because usually he is so wise (but once i read a meta about him seeing Sirius as Grindelwald and thinking by that meta it gives us an interesting perspective about this conversation as well).

Sorry this is getting long 😅. Anyways my point is that none of it makes any sense. It is clear that JKR was biased against Sirius and to show that she brought two other characters down (though these moments can be seen as interesting flaws in them)

Have a lovely day! (Sorry about the long ask, I hope it makes sense)

Honestly, while JKR is a brilliant writer, I also find her fairly reactionary in her writing style. Sirius was one of the most popular characters in the story because she wrote him that way, he inadvertently became more popular than a lot of other characters she preferred because again, she WROTE him that way. Perhaps the creation of a character as multi-faceted and dynamic as Sirius is was entirely by accident, as she really seems to double down on the character assassination as the books go by, but regardless, there's little in the way of canonical proof to suggest that Sirius is trying to live a vicarious life through the kids. Especially cause he's the one who seems to understand what they actually need after all they've been through instead of just patronising them.

Sirius is the only one who takes Harry seriously, he is the only one who tries to not just physically be there like the others, but actually also provide emotional support. He's constantly been doing this since he escaped Azkaban, and at this point, both in the case of Harry generally, and the Weasleys specifically when Arthur was injured, he's repeatedly looking after others at his own personal cost. He gets Ron an Owl, almost tells Harry how to beat a dragon (and that's the kind of stuff Sirius Black simply just goes around knowing, how to take down Dragons), gets Harry his firebolt and Hogsmeade slip. Sirius is generally an emotionally intelligent person, and this is after 12 years of forced isolation from civilisation.

The tragedy of Sirius' arc in OOTP is that there's no one around him who can relate to his experiences. This makes it impossible for Sirius to find the kind of empathy and support he needs from the members of the order. By OOTP, Sirius' mental health, whilst constantly deteriorating is also displayed on technicolour before the entire cast. He's not allowed any secrets, his abusive childhood, his unprocessed grief, years of dementor and solitary confinement related trauma, the fact that he lost his entire twenties, his burgeoning alcoholism is all on display and not spared judgement from the self-righteous members of the Order who did not support him at 21 and are not going to support him at 33.

Furthermore, the narrative repeatedly validates him. He insists that Harry should be told the truth, and he's right, he insists that he can do more instead of just being locked up and left alone and he's right, he wants Snape to restart Harry's lessons and he's right, he repeatedly and actively disagrees with Dumbledore's opaque methods and again, he's right. He gives Harry the two way mirror because Harry needs him to be there, and as Godfather, it is Sirius' responsibility to find a safe way to ensure that happens.

Whilst he's not at his best, he's still trying, he's trying so hard to be what everyone needs him to be even when its contrary to his own instincts and emotional needs which are either dismissed entirely by the people around him or mocked with derogatory catchphrases like "fit of the sullens" that its genuinely heartbreaking that despite him going out of his way to help the Order, not only is his devotion not returned it's barely even acknowledged. They never try to acquit him, there's no mission run by the Order to try and recapture Peter or get Sirius a trial or even an opportunity to give a press conference (which, with the political climate in OOTP would actually be a great way to discredit the ministry), Dumbledore pretty much just locked him in and threw away the key, a circumstance not entirely different from the past 12 years of Sirius' unfortunately short life. An acquitted Sirius would mean a discredited justice system and ministry and also a powerful wizard to run missions again, but this prospect is not even brought up let alone addressed. He gets a posthumous consolation through a footnote in the Daily Prophet, like that could compensate for the trauma and the decade he's lost.

I think it's very binary to put people into boxes and go "this person is only these set of traits and that's all they can be." Sirius is more than his grief for the Potters and love for Harry and years of isolation and torture. He's a brilliant detective, one of the order's most powerful duelists, someone who is blatantly not afraid of calling people out, be it Walburga or Crouch or Dumbledore, someone who despite growing up in a cesspit of bigotry and violence fights for people like Lily Potter and Remus Lupin and Hermione Granger. The guy who barely tolerates Kreacher but is distasteful of Crouch's treatment of Winky. Sirius, like most people, comes with facets and is possibly one of JKR's finest creations. Not that she seemed to realise it herself.

Not that that's surprising.

The most interesting thing about Sirius and Dumbledore, and Dumbledore's repeated refusal to trust Sirius is that unlike pretty much everyone else in the order, Sirius knows that Dumbledore and Grindewald used to be friends. Lily wrote it to him and Sirius read it. If Sirius could figure out the GoF plot while being half starved to death and living in a cave, a free healthy Sirius with a very much alive James Potter would probably have put the whole plot together. I wonder how much that influenced their dynamic in OOTP because whilst the others have nothing on Dumbledore, Sirius does. If Sirius can spare Dumbledore his judgement despite knowing the truth, Dumbledore can get over Sirius being a Black.

[rachetmath]

Jaune More MC Ruby?

Ruby: That’s why I’m the MC and you're the side character.

Jaune: So because you have silver eyes you’re special?

Ruby: Yep.

Jaune: Even though I cheated Beacon.

Ruby: Yep.

Jaune: I was bullied.

Ruby: Yep.

Jaune: My partner is dead. And because I let my guard down, Ozpin died, and Oscar had no choice but to come on this journey. You know,  because of me.

Ruby: Yep.

Jaune: And because Cinder, who works under Salem killed my partner, I have beef with the main villain and her whole crew.

Ruby: Yeah.

Jaune: Salem, who I have way more in common with than most people, the deemed goddess I’m defying her, just like she did with the brothers over a loved one's death. Are you following me so far?

Ruby: … Yeah…

Jaune: Hazel, who mind you, lost his sister. He lost his sister because of the world Ozpin had created, like I did, with Pyrrha.

Qrow: She had a choice.

Jaune: A few days' choice which turned into minutes when Beacon was attacked. Then discovering how bad the situation is, you know with Salem being immortal, I almost hurt if not killed Oscar, making me at the spur of the moment,  just as bad as Hazel. And mind you I was willing to fight you on that.

Ruby: Uh… yeah…

Jaune: Tyrian, has the opposite to my semblance. Wasn’t he more interested in me than you? And you were his target.

Ruby: Mmhmm.

Jaune: Let’s talk about Cinder again. Cinder had two stray kids who followed her. I have Ren and Nora. Neither have parents. Also, we both want power but for different reasons. We even have different views on destiny.

Ruby: Oh damn.

Jaune: Atlas. Oscar did Ironwood not act like how I did in Argus but worse?

Oscar: Yeah he did. Jaune even saw Salem in person before you did.

Yang: So did we. You saw her face to face.

Oscar: I’m Ozpin. What is that supposed to mean?

Ruby: Oscar, not helping.

Jaune: Neo. We both lost our partners. The difference is that I have friends while she has none. The cat, him, and I almost have the same ability except he manipulates your soul or takes it. He might as well have been a devil version of me.

Weiss: O. Dear lord.

Jaune: Watts. … … … You know what no. He-he was no. Like he could have done better, he’s an example of being smart yet making the dumbest choices. 

Weiss: True.

In the Twilight

Watts: What?! My decision was understandable.

Ironwood: No. No, they were not.

Penny: Like you could have logically put your two weeks in and left for another kingdom. Or country. Like Vale. Mistral. Anywhere. You could have helped where you could've been needed. Which would have made you better than my father.

Watts: I wasted my life.

Back to Remnant 

Ruby: Um….

Jaune: You know what I have to ask this question. What is the moral of the story and how does your character fit into this?

Ruby: Well my-

Jaune: Let me retort. I lied. I was bullied. I had no idea about anything in the hunting world. I needed a teacher. I lost someone important to me. I have beef with the main villains. I train to get stronger to be of use to others.

Ruby: So?

Jaune: Okay. No one believed in me. But I still went to chase my goal. I lost the best thing in my life. I still moved forward. I had to kill someone. Still moved forward. I’m an old man trapped in a boy's body. Still moving forward. Fighting the odds that are stacked against me. I have seven who no one knows about. Yet your family is more interesting.

Ruby: Your point?

Jaune: The moral of the story is that no matter your circumstance you can always be better. Never allow destiny or grief to influence your entire life. No matter what odds that stand before you,  you can ultimately change your fate. And no matter the darkness a simple soul can light up the night and unite everyone against a greater evil. Even when the whole world is against you, you are never alone to endure it. If we stand united and look past our differences only then the wor;d would be a better place.

Ruby: Well my mom died at Salem’s hands.

Jaune: And?

Ruby: It's still relevant.

Jaune: You're right. But how many times has your mother been mentioned and you bothered to get information about her?

Yang: I-

Jaune: Bitch shut the fuck up. You were looking for the deadbeat mom more than the mom who stepped up.

Ruby: Well um… um…. Damn. Oh, but I-

Jaune: You weren’t the sword. I may not have known Penny as long as you, but the fact, that I could've saved her proved her death hit harder than Pyrrha's. I’m close to walking in Raven’s path.

Ruby: Shit.

Jaune: And back to your mother. She was a silver-eyed warrior. But Salem is still here. Do silver eyes work on her?

Ruby: Um.

Jaune: Because Salem is still both the brothers' creation. The old humanity. She can't be phased by the black liquid even though everything they touch decays. 

Ruby: She's immortal.

Jaune: Yeah but again when Maria told you her story didn't she try using her silver eyes on humans and it didn't work? 

Ruby: Cinder.

Jaune: Grimm arm.

Ruby: The hound. 

Blake: Silver-eyed person too but only stunned them.

Ruby: Blake.

Blake: What a minute he had animalistic ears. Should I be concerned for my people?

Jaune: Yeah… we’re not getting into that. The point is if you go see Salem and your silver eyes don't work then your mom died for nothing.

Ruby: Oo. Um…

Jaune: And let's get back to the other villains. Besides Emerald, Mercury, and Tyrian, some of them have valid reasons to join Salem. 

Ren: Jaune!

Jaune: Ren, your village got destroyed.

Ren: Nevermind.

Me: Hold up. Let me start. With Cinder, a huntsman saw what she was going through and didn't bother to help her. She was alone. The world abandoned her.  

Jaune: So Hazel was right. In fact, Raven had a point.

Oscar(Ozpin): Mr. Arc I-

Jaune: Motherfucker Hazel had every right to be angry. Dude shadow missions involve us going with experienced hunters. Yet his sister died and Ruby could’ve died. Shadowing them. Following their lead. Does that not show how bad the hunting system is? Not just that we got hunters who died in the line of duty. Not to mention how some were sexually harassing the girls.  And some of them are just plain crazy or assholes. Not to mention Blake, Qrow, and Raven. You let them in. And to make matters worse you chose Pyrrha, a first-year student, to be your maiden.

Oscar(Ozpin): She was my best option. 

Jaune: So Glynda wasn't on the table? A high-ranked fourth-year student wasn't on the table? Man, at least you could have chosen Ruby considering she has silver eyes and is a young upcoming prodigy. That would have made her more important. Like Ozpin Ruby off the bat was better than Pyrrha.

Qrow: Hey, I would have stopped that.

Jaune: O, so… it was okay with Pyrrha… but not your niece. I see. Hypocrite.

Qrow: Damn. Set myself up for that.

Jaune: Watts, despite his stupidity, had a point. James would abuse any source of technology just to have some level of control over something. Why did you think he wanted your sister instead of Penny? Why do you think he wanted Amity up as quickly as possible? Why do you think he hacked into Penny? Everything was always about control.

Weiss: Well our lives weren't easy.

Jaune: That I won't deny. Yet we are all still bad people.

Yang: Jaune my mother -

Jaune: Raven and Summer left you. Summer no one cared enough to talk about. Raven doesn't matter at all. Willow waited until her children were teenagers or young adults to start dealing with an abusive father. And Kali… yeah she should have slapped some sense into her daughter. 

Weiss: Well your mom doesn't love you.

Jaune: Don't care. Back to Jacque though how does he and James know each other? Why do they have beef with one another? Unless… o. Oh no. Don't tell me. Did James set Jacque up with Willow? And in return, he helps James rise to power. Or did James love Willow but because of his career he couldn't marry her? Could Winter be-

Weiss: Please stop. I do not need those theories in my head.

Jaune: Fine. The point I'm trying to make is… … well how about you explain.

Me: It's crazy how Jaune fits the main character role better than Ruby.

[anthonys237thfreckle]

Do you have any Javi headcanons? (Just about him as a character)

Javier ‘Javi’ Rivera - Headcanons

TW: mentions of death and mild bullying

🌪- Javi def grew up being called ‘Javier’ a lot in elementary school. He only transitioned to the nickname ‘Javi’ in late middle school/ high school.

🌪- Speaking of growing up, his freckles were made fun of, so he grew up being insecure about them. He doesn’t give a shit now, though, since the ladies liked it in college

🌪- He was always a fun kid to be around - very smiley when he was a young boy. In his teen years, he started discovering himself more, and in high school hooked up with both guys and girls.

🌪- He probably had his bi awakening through watching a movie and finding a male character hot, then being jealous of the female love interest.

🌪- Of course he was a little anxious about coming out, but he didn’t really care as much what people thought of him. If they asked, he’d tell them but he wouldn’t go around announcing to the school he’s bi or whatever.

🌪- He never really found an interest in subjects like art or music in school. He was really good in science, obviously. In elementary, his favourite topic was the water cycle.

🌪- In college, he was surprisingly good at what he did. He put a lot of effort into coursework AND balanced his hookups.

🌪- He found his group of friends: Jeb, Kate, Addy and Praveen - and he fit right in. The perfect balance of nerdy, ambitious and troublemaking.

🌪- His best assets in college were his holy trinity - hair, freckles and body. He did work out a lot in high school and maintained his figure in college, so that made him attractive. Those god-damned freckles made him eye catching and unforgettable, and his hair - a brown mop of curls, shoulder length and he rarely ever had a bad hair day (and as someone with curls myself, i need his routine.)

🌪- Javi’s lively personality was mostly squandered by two major events in his life. The EF5 accompanied by the loss of his friends and joining the military.

🌪- He still holds onto the grief of not being able to guide them through the storm, of being picked by the universe to live when three of his best friends died.

🌪- Part of him died too that day.

🌪- The military gave him a tough skin. Lots of physical training and whatnot - he still got to pursue and use his knowledge in meteorology, but more professional and safe this time.

🌪- To him it doesn’t feel the same.

🌪- Once he was done with the military, he started dating Scott mostly because he just wanted to feel something, and Scott made him feel things. However, the two of them didn’t mix and split up.

🌪- He’s a logical thinker, but under the influence of emotions, he’ll say whatever’s on his mind, no matter how hurtful it can be.

🌪- That’s why he’s a little afraid to get too riled up or to let his emotions free because he’s afraid of losing someone from saying something shitty.

🌪- However, after Kate talked some sense into him, he found a new purpose in life - to help people in danger. To save lives and communities, and he’s determined not to let anyone suffer the same fate as his friends on his watch.

[relicsongmel]

Something I've always found fascinating about Raymond Shields is that despite seemingly having altruistic reasons for being a defense attorney, his reasons for trying to convince Miles to be one are anything but.

It seems understandable enough on the surface. After Ray comes around and agrees to work with Miles in The Imprisoned Turnabout, he sees remnants of Gregory shining through him despite von Karma's influence. Whether or not he recognizes that Miles' decision to become a prosecutor wasn't just born from that alone—that it was in tandem with wanting to distance himself from anything that reminded him of his father to alleviate the burden on his heart—is up for debate, but regardless: he acknowledges Miles as Gregory's son through and through and wants to capitalize on his dedication for pursuing justice in a way that he knows would make his father proud. He wants to let Miles in on the life he was robbed of at 9 years old—the life he once dreamed of living, where he follows in the footsteps of his father by giving everything he has to save people, by fighting like hell for the vulnerable and the condemned.

That said, as much as Ray dresses up his proposition by making it out to be as if he's looking out for Miles' best interests (and the best interests of society, even)...his motives for trying to get Miles to switch sides are almost entirely selfish. Ray's efforts (and most of his actions in general, really) are ultimately a product of his desperate attempt to cling on to anything related to Gregory out of an inability to move on from his death. Wearing his hat and coat, leaving the name of his office unchanged...and now, requesting that his son literally change jobs just because he can't bear the weight of his own loneliness anymore. Because he can't bear to think that the damage done by DL-6 is irreversible and Miles has moved on while he has stagnated for the past 17 years. Because he has an idealized vision of what he thinks Gregory would want and fails to realize that his son's occupation wouldn't matter to him as long as it brings him happiness and fulfillment. In his mind, letting Miles go means accepting the circumstances that brought him where he is and allowing both of them to move on. And that terrifies him.

It's even more deceitful when you realize that Ray's pitch comes at a very opportune time for Miles given his circumstances at that point: that is, he's under threat of investigation for prosecutorial misconduct and at risk of being stripped of his badge. Ray might fake incompetence, but he's not stupid—and he takes full advantage of Justine's warnings to try to sway Miles when he's in a more vulnerable position in terms of his job. Which is...pretty fucked up, to put it lightly. Despite having a better idea of where he came from compared to most people, through this Ray shows a lack of understanding of who Miles truly is and a lack of respect for what he's come to value, even if his path toward obtaining those values had some bumps along the road. But he's so blinded by his grief that he doesn't even stop to consider how much he's really asking of him, or what Miles is really searching for.

Ray was moved by Gregory. He values saving people. Defending the weak is an undeniably noble endeavor. But to ask that of someone else without consideration for their best interests is decidedly less so.

For all his occupation requires a certain selflessness, Raymond Shields is far more selfish than he lets on. And I for one find that contradiction fascinating to unpack.