#this is all spec but it does make sense to me

[oceanwithouthermoon]

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

[batsplat]

ok but what could be the motogp/casey stoner magical girl anime’s equivalent of rgu’s black rose arc……🤔

*cracks knuckles* okay admittedly I read this ask, had it jangle around in my brain for half a day and then read it back and realised I'd zeroed in on the 'casey stoner' side of the line and completely ignored the more general motogp prompt. since then I have had. some more thoughts. but they do come back to casey

so let's set out in proper scientific fashion and figure out what doing a black rose arc even MEANS. briefly summarising the arc, on the most literal level possible... it's the middle arc of the show, wherein characters proximal to the primary duellists get indoctrinated in a sham therapy session into fighting utena, a process symbolised by pinning black roses to their chests. she wins against all of them fairly comfortably in direct combat, managing to destroy the black rose and in doing so free the duellists. at the end of the arc, utena learns that the whole thing was orchestrated by mikage, a scholar frozen in time after burning down a lecture hall and killing the hundred boys within. he seeks to kill anthy, the rose bride, so that he can save his beloved mamiya by making him into the rose bride and achieving eternity. except his memories had been manipulated all along by the puppet masters of the whole show, anthy and akio, so that his memories of mamiya had been bastardised into what seems to be a version of anthy. mikage had been trapped in the school by false memories, has perhaps been dead all along, and had been used as a tool to bring utena closer to being able to achieve revolution. in the end, he too is discarded

which... okay, yeah, it's very hard to describe the show on a literal level, and I think in some ways the black rose arc is the one that's the most open to interpretation? icl it took me about three watches to really wrap my head around what on earth mikage's deal was supposed to be. which means you can also take the motogp crossover approach in several different ways... because of my own academic background, watching it the first time I kinda zeroed in on how the process by which the characters become black rose duellists is one of radicalisation/indoctrination into a cult. the process by which they are prepared to commit violence is built on humiliation, an experience where they want something and feel shame (or are made to feel shame) for wanting it. kanae is subjected to anthy's silently judgemental looks, keiko is made into a fool and an outcast by nanami, wakaba suffers a brutal rejection, and so on... it's not just that they have an enemy, somebody who treats them poorly - it's that a vulnerability is exposed that fundamentally threatens their self-esteem. it leaves them destabilised, unsure of themselves, with a fragile sense of self. when the characters go to seek guidance, they are quite literally being provided with a new sense of 'direction'. they are being guided towards finding purpose

the descending lift is a key part of the process, by forcing the characters to focus in on their negative emotions and let them consume them. the humiliation is strengthened, made more brutal - the voice instructs them to "go deeper" and bare more of their soul. they are expressing their vulnerability in front of a mirror that reflects their most twisted, painful desires back at them. subjected to the reflection of the negative emotions at the self... they are forced to make themselves weak in front of the voice, essentially debase themselves, and in doing so they strip away their own walls and barriers and mechanisms of self-defence. as the lift descends, so do they regress

the most obvious expression of this is the butterfly that becomes a cocoon (and then a leaf). utena is all about the process of becoming an adult, of achieving revolution as a metaphor for growing up, breaking the egg. but here, as an extension of anthy and akio's schemes, instead the characters are forced backwards in time. part of it is again this process of... well, ritually breaking down the characters, chipping away at their sense of self so that it can be reconstituted in a way that is useful to the order of the black rose. part of this is more generally about the show's themes of maturity and adulthood - the characters are being reduced, now governed only by their very worst impulses

it is at this lowest moment that mikage steps in to offer the characters their only solution. the only answer they have to somehow bring meaning back to their lives. all they have left to reclaim some kind of sense of self is to embrace mikage's vision of revolution. so you have a personal experience of humiliation, you have the character being guided towards a figure of authority who is supposedly able to help those in that kind of situation, you have a 'gradual' process stemming from externalised pressure to make the character focus only on their negative emotions, and eventually you have said figure of authority providing the character with the 'only' way out of the emotional turmoil and insecurity they are feeling. this route eventually leads to complete suppression of the self in the name of the cause and also... well, acts of violence. staircase model, my old friend! or if the staircase were a descending lift, I suppose

you may be wondering how I can possibly make this relevant to motogp and, well, *cracks knuckles again for good measure* let's see how this goes. I'm not going to make some big spiel about how becoming a rider (yes, even a vr46 one) is a comparable process of indoctrination or any of that. (there's some very broad comparisons, like how riders cannot choose to be assimilated into this strange and dangerous system but are instead sucked into it as children, following dreams that have been handed down to them by others... but I'm mostly gonna stay clear of that stuff.) what I'm more interested in is... hm, the emotional management aspect of sports, how delicate it is in what it requires of athletes. the eternal question of motivation, how you can bring yourself to put yourself out there and compete again and again - despite the eternal possibility of failure and, yes, humiliation. from here

'the challenge of managing vulnerability' is the key bit. on a very, very basic level, the process of growing up is about managing vulnerability, being able to manage your own emotions... there's a similarity between ohtori academy and the paddock in that they are both sheltered, closed off environments that send its young through unnatural, almost twisted approximations of growing up. their emotions are evoked by artificial scenarios, by competitions that aren't 'real' in the sense they aren't provoked by any naturally existing scarcity - but are instead elaborately designed shows designed to test its participants and, yes, reveal something of them. sports as a pure measure of human achievement is fundamentally hollow; it is only provided meaning by the ridiculously heightened emotions that are evoked by it. the characters transition into their new roles of duellists in a moment of vulnerability and it is only in this raw, unguarded state that they are able to fight

there's also another bit from a post I ended up not publishing in an exciting moment of self-awareness where I went, 'you know what, nobody cares about this', but it still exists in unedited form in my google doc. here (the post was about mozart + salieri, hence the references to music):

the idea here is basically that it's actually incredibly tricky to manage the exact right amount of self-awareness you should have as an athlete - and the emotions that come with it. you need to reveal yourself, to make yourself vulnerable, to be able to compete to your fullest extent. you need to debase yourself in front of a crowd, to accept the possibility of not just defeat but of humiliation, of the embarrassment of losing and how degrading that experience is. now, to stop yourself from actually going insane, everyone will need some kind of explanatory framework in their own head to process defeat. some of these narratives will by necessity rely on our good old friend delusion. young athletes cycle through victory upon victory and defeat upon defeat, often in ways seemingly inexplicable to themselves, which means their self confidence is fluctuating like a yo-yo on acid from generational levels of cockiness to the darkest self-loathing imaginable. some level of baseline self-belief, of thinking you will 'make it' despite all the odds being extremely not in your favour, is really kind of key to the process

the problem, of course, is that... so narrow is the emotional window that provides the ideal performance potential that it makes managing this window both crucial and horrifically difficult. maybe you can perform better when you're angry - or maybe you'll crash. or maybe you'll make a fatal error of judgement. you need hubris, but not too much. calm without passivity or complacency. joy might be the enemy of concentration. shame can motivate or it can make you retreat. your rival can spur you to action or paralyse you in your own inadequacy. and at the core, again and again, lies the concept of vulnerability. the moment you step into the arena, it is with the knowledge that it is possible for you to lose. competition is a moment of exposure, of revelation, of truth. this day may end in the gravel trap. you may humiliate yourself. you do it anyway - and to do so you need purpose, and to make sense of the defeats you need more purpose

plugging the autobiography passage again:

such a good passage, isn't it? to bring it back to the black rose arc... 'analogy' in the loosest of senses - you have moments of 'truth' in different forms. you have the truth found at the bottom of the lift, where the characters reveal their most painful insecurities - but it's fundamentally not a very balanced truth, is it, focused on the purely negative and self-loathing. they don't go out to duel in the name of passion, they are not duellists in the same way juri with her love for fencing is - which you can see from how they need to essentially steal the style of 'their' duellist to fight utena. there's no positive affect there. it's a power gained through vulnerability, yes, but one that is fundamentally self-destructive and exists in an ultimately fragile state of crisis. utena can free the duellists from their roles simply by cutting the rose; the student council members don't stop being duellists just because their roses are cut because this is something they care about for themselves. you can't be completely reliant on others to provide you with purpose in sports - some of it is going to have to come from some internal urge to compete, to win. no parental determination, desire, at times abuse can create an athlete out of nothing if their child is fundamentally unwilling (as ever, agassi's autobiography is very interesting about this). so while end of the world, in all the malevolence and abuse, may proffer a path towards meaning, towards revolution, to the student council members - it would be entirely useless if they did not still have 'hope in their hearts'. desire. the will to win. utena is able to defeat the black rose duellists with relative ease... she might not have entirely selfless motives, but her desire to protect anthy still stands up as being far more robust than a mere desire to lash out in response to humiliation. she wants to be anthy's prince, she wants to live up to this role - and in the end it means she will always be able to dig deeper than the black rose duellists

there's a few other ways we can torture this metaphor, while we're at it. "deeper, go deeper" is a phrase that to me is... very sports-coded, I talked about it in the mind games post I linked - going to the 'dark places' within yourself to win. to find release through the suffering, some form of revelation, reaching some kind of imaginary 'zone', to be able to perform at the highest level. only then can you achieve revolution... eternity, if you will. it's the performances where athletes dig the deepest that immortalise them, after all. but then, for all this talk of balance and some need for positive affect, of course there is a lot of negativity that feeds into the motivational process. the motogp twitter account posted a video today a few days ago by the time I actually post this... of our dear two time defending champion talking about how he primarily uses criticism to motivate himself

there's something ever so slightly comical about pecco talking about how, sure, he'd like to live by his 'go free' phrase and the associated ethos of just enjoying himself out there... but actually, he doesn't motivate himself through all that fun stuff at all. instead, he makes use of *checks notes*

reading something bad about himself

being told something bad about himself

making mistakes

when someone attempts to hit him in the mental side

well, that's nice! welcome back, casey stoner

am I saying pecco is going down the black rose arc lift to motivate himself? well, maybe I am. who's to say. a little bit!

you're getting yourself into the ideal performance window by basically... deliberately exposing yourself to criticisms, to degradation of the self, to the suffering of embarrassment and humiliation, dwelling on your mistakes, on those who do not believe you are adequate (or 'special', as in the black rose arc)... and, well, obviously I'm not saying the lift descent is a particularly healthy process... I'm admittedly a bit wary of the welfare implications of the sports equivalent. I actually had a long conversation last week before last about what essentially amounts to forms of digital self harm, this phenomenon of stars seeking out their 'haters', both within sports and other public fields... and, idk. there's 'being motivated by your rival being a dick about you' normal levels of spite and 'constantly subjecting yourself to what your cruellest detractors think of you' levels that seem distinctly unhealthy to me. without more context, you'd kinda hope pecco's sticking closer to the former type than the latter. casey also was a very spite-motivated athlete, perhaps somewhat in contrary to his assertion that he never got obsessed with rivals and didn't care who he beat. you see it with his whole 'ooh beating a spaniard at their home circuit' schtick, you see it with his 'yamaha rejected me so I'll show them' thing, quite frankly even his 'ah well mind games actually backfire because they motivate the other party more!!' line. he was constantly trying to prove a point to someone.... but was also extremely prone to self-criticism, to putting himself down, to being so perfectionist that it tipped over to being terrified of failing and crucifying himself for any mistakes. some of these things will have contributed to making him as good as he was - the same traits that tortured him also were what drove him to seeking perfection. sometimes, these roles of 'duellist' and 'athlete' may demand a fundamentally unhealthy emotional balance to excel at them

there's also something in how.... hm, mikage wanting to kill the rose bride so he can control eternity. the concept of 'eternity' is also big in sports, both in wanting to secure a legacy and wishing to preserve an un-preservable youth. inevitably, you will be replaced, they will move on from you, you cannot compete forever... mikage is frozen in time - and more than that, time is distorted in the ohtori academy. only a few like mikki even appear to notice it, constantly measuring it with his stopwatch as it continues to fluctuate around him. the uncertain nature of time is impossible to separate from how insular the academy is, from how it is cut off from the outside world, from how all point of reference is lost. sports does a similar thing in many ways, with the insularity heightening the stakes of this conflict, the occupants of that space living to different rhythms than the rest of the world.... the cycles of life and death, how rushed everything is, a youth that has to be captured and bottled before it slips out of your grasp, the calendar of races, of a travelling circus that touches the places it visits without belonging to it... valentino stretched out his career, even beyond a time when he was no longer competitive, due to his love for racing, his passion for it - a state of arrested youth, how he's been given the moniker of peter pan to go along with his own little band of lost boys. right at the opposite end lies casey, who achieved the truest 'revolution' early by leaving the cycle entirely, choosing to forsake this world that had constituted all that was of meaning to him - rebuking those who said he was wasting years of his prime, of the precious youth he still had one hand on, by stepping away. even though casey too had been striving for something unachievable.... the key thing about the 'revolution' is that it is something false, a mirage like the castle hanging over the arena, an ideal to be fought for without ever being attained. for casey, it was a quest for perfection that tormented him - so impossible is it for athletes to accept their own fallibility, their flaws. it can never be reached, because it is not an end point in and of itself. there is no definitive revolution that can be arrived at, no place of satisfaction, no easy way in which the power to revolutionise the world is granted to the duellists. all that remains is the process of working towards that revolution - that, in the end, is the only thing truly eternal

so, what does that process look like? you prepare yourself for the duel, you motivate yourself - either through positive or negative affect. athletes all lust after victory or fear defeat or both. utena ascends the staircase while the black rose duellists descend with the lift. for her, this also functions as a process of preparation, a repetitive yet effective way of bringing herself into the right mindset for the battle ahead and definitely not a way of saving animation costs

to me, it's key that those are stairs, and that there's a silly number of them. the black rose duellists are prepared swiftly, easily, with little effort from their part beyond the own horror of their emotions. they are not trained duellists and merely temporarily assume the mantle. utena has to work to even get to the arena - she has to put in an unreasonable amount of work, if anything. the demands to even be allowed to fight, to compete, are beyond what could be expected of anyone - and yet she willingly puts herself through it, because she wishes to fulfil an ideal she has been taught. the great athlete, the legend, the prince... it might work, she obviously does become an excellent duellist, for at least some of the time, she does manage to protect anthy.... but it's still one of the absurdities the academy is imposing on her, breaking her down as she no longer questions the surrealism of he world around her. she climbs the stairs because that is her role - and she readies herself for the battle she has been assigned

eventually, utena is allowed to both ascend and descend using a lift. now, listen, if you really want to get left field with this, you COULD say that her being allowed to ascend the lift rather than climb the stairs is... her no longer needing quite such an intricate method to emotionally prepare herself for the duel. she's integrated into the system now! she's an experienced duellist! she can get herself hyped for battle in a lift! but it's also a privilege she is being granted by the powers that be within the academy, which reserve the right to bestow meaning onto her, to single-handedly decide how worthy she is. and then, in the penultimate episode, the lift returns as akio attempts to break down utena. now utena is the subject, the patient, the one to be indoctrinated. she is invited to see herself as the princess akio wants her to be. she ends up re-embracing the ideal of prince (temporarily until anthy stabs her)... because that's what her power comes from. she'd never be able to find strength in the process of extreme self-degradation and exposing of one's own insecurities embodied by the descending lift. she needs to fight for positive reasons! some people are just like that, apparently

anyway, my pitch for how you'd black rose arc a specific period of casey's career... I reckon it's 2006, his rookie season in motogp at lcr honda. a seat that he'd had to scramble for, rejected by yamaha and not exactly high on options. he'd just finished second in 250cc to dani (if on inferior machinery) and was like.... well, he was definitely highly rated in the paddock, but perhaps didn't have the reputation of being particularly easy to work with. it's this version of casey:

as ever, casey was fast pretty much from the get-go. he had a very strong debut in jerez, exploiting a gap at the first corner after toni elias barrelled into valentino and finishing sixth. at the second race, after having been severely ill the week before, he rocked up like fifteen minutes before practise due to flight delays and ended up popping his bike on pole. that's also the race in which he had his very first battle with valentino, who came up to him to do the grabby hands thing on the cooldown lap. at the third race, casey came painfully close to winning - but scored his first podium of his premier class career

(side note, there is something amusing to how casey was yapping about valentino's disgusting yellow tainting the ducati when he's draping that australian flag of his absolutely everywhere he can, even in his rookie season. has someone maybe spent a little long away from home and feels the need to strengthen his own sense of self by plastering that thing on every available surface?)

anyhow - after that third race, casey's season went downhill. he crashed frequently enough to bag him the nickname of 'rolling stoner'

Like I had done my whole life I kept pushing and, of course, I kept crashing and I got slammed for it in the paddock and in the press, earning myself the nickname 'Rolling Stoner', which really bugged me. The pressure began to build as people questioned my talent and Ramon started to suggest that I was crashing because I wasn't physically fit enough. I knew this couldn't be the only solution, but l couldn't work out why I kept crashing. As a rookie I wasn't to know any better but people around me with experience should have helped me to understand the tyre issue. I would come in after a race saying, 'I didn't do anything wrong, I didn't make a mistake. I would know if I had.' But they would say, 'Well, you must have done because you crashed.' All the blame went to me and with everybody telling me it was my fault, I started to believe it. Ramon is a very good crew chief, extremely skilled at setting up a motorcycle, but I wish he'd listened to me a little more.

humiliation!! embarrassment!! others seeding uncertainty in him... being at the mercy of figures of authority who are giving him false guidance, but who he has to blindly follow. feeling unheard, beginning to believe what everyone says about him

he also had just a little bit of a temper back then, perhaps not completely familiar with the working process of top teams. but the crashes were not entirely his fault - they were (according to him) down to michelin seeing his potential but also exploiting his lack of status in the sport to essentially use him as a guinea pig for their new tyres. back then, this was how tyre suppliers handled things, and the whole thing was laughably uneven and unfair. whereas some riders like valentino were so successful and so influential they could generally lay claim to the best tyres (apparently with the exception of the actual title decider), others were at the mercy of the whims of michelin

Michelin had started to realise that I could do the lap times, especially on used rubber, so they started using me as a guinea pig. They would put me on a certain set of tyres for free practice and I would be happy as anything, right on the pace. Then on race day they'd say, 'You can't use that tyre.' They'd insist on us using a different tyre and then we'd find out on the grid that Dani or Nicky or somebody else was on the tyre I was planning to race on. Contractually we were obliged to use whatever tyre they decided on. [...] I kept pushing because I trusted them but there was some massive crashes which I thought were caused by the tyre combinations I was given at the last minute. [...] I started feeling like a crash test dummy and as the season progressed the situation got worse, to the point where I'd get angry and go off. I got a reputation as a spoilt brat. I am not making excuses but I was frustrated. Dad would come over to Europe to try to settle things down but the fact was I felt the tyres were causing me to crash. My confidence also took a hit and it took me back to the doubts I had in my first season of Grand Prix in 2002. I started to question myself a lot. Was it me or the bike? After a while I couldn't be sure. It was my debut season in MotoGP and I really didn't know what I was capable of. I'd proved I was competitive but the race results weren't showing what I could do. It started to mess with my head and unfortunately it seemed that my crew chief Ramon Forcada didn't have a lot of faith in what I was capable of either.

not only was this harmful for casey's reputation - it was also terrible for his confidence. as the autobiography passages describe, he wasn't getting good guidance about how to make the tyres work for him and inevitably the frequent missteps worked to erode his self-belief. after all, how could he know whether it was his fault or the fault of the bike? he told the team and the press these weren't his mistakes, but he wasn't believed... the paddock rejecting that he was to be taken seriously, enforcing a regression from the new 'adulthood' he had been granted by way of entering the premier class, but was illusory... which is where we get to the black rose element. it's repeated instances of humiliation - because there is something inherently humiliating to crashing. getting a nickname that makes it the thing people most closely associate with him. sinking into his own negative emotions, lashing out in anger at his own team, feeling the sting of embarrassment as well as frustration and self-doubt... and then, towards the end of the season, once again yamaha first seems to offer him a deal before changing its mind. another pattern he can't seem to break. casey has had plenty of self-belief in the past, not just dreaming of a title but believing he was capable of it - to the extent that he attempted to get to the premier class as quickly as possible, because he believed those were the titles that really counted. that's what he's here for... but what if it was all delusion all along, finally meeting reality?

which, yeah - it's those elements that make it very black rose-y to me. it's almost like... a touch of infantilisation, of refusing to take him at his word... he trusts these more experienced adults - in the same autobiography section, he talks about learning not to trust people just because they had a lot of experience. constantly choosing or being forced to listen to these guys who aren't giving him good advice, who don't have his best interests at heart, who don't have faith in him... and it chips away at him, it makes him angry and frustrated and will inevitably have contributed to some of the turmoil of his rookie season. he's being returned to the 2002 version of himself, a newbie in grand prix racing who didn't know what he was doing - and he doesn't know if he has a future in the sport. he wants to believe in himself, but maybe he can't. and it's just... creating this foundation of negative emotion that he would continue to use for the rest of his career to draw motivation from. the insults, the criticisms, the doubters, the haters... yamaha once again closing their doors before opening it a year later to some other young rider whose name escapes me. humiliation turned into a source of motivation. and once the process is complete, he emerges as the primary challenger of the champion (yes, yes, not literally, but vibes-wise obviously still THE big name at the time) in the following season

in the end, ducati gave him the call - he wasn't the first option, but he'd do. utena functions partly as a deconstruction of the type of story in which the ordinary wakaba would be the protagonist (ordinary girl romance protagonist surrounded by larger than life characters)... and the wakaba-centric episodes have akio posit that there are fundamentally 'special' people in the world and all those who can only hope to be special for brief, rare moments. in the meta-narrative of a show like utena, of course that is true, where some people have added significance by dint of being main characters in a story. in sports, too, there may be an unfortunate truth to it - an inevitability to the hand each athlete has been dealt. even if casey was publicly flayed and humiliated and figuratively descended the lift, like utena he was fundamentally still one of those 'special' people, whose natural talent meant none of his confidence was unearned. at ducati, he swiftly showed how he had been judged far too soon by the paddock. unlike the black rose duellists, he successfully challenges the champion. unlike the black rose duellists, he could never have been swiftly stripped of his status as duellist - even if there might be the occasional princess who attempts to trip him up and torment him. still, the bedrock of his determination in 2007, the steel that led him to a title, was ultimately established the year before. he was going to prove yamaha wrong for hanging him out to dry; he was going to prove the paddock wrong for ever doubting him. yes, the passion for winning is undeniable - but so is the spite. in seeking to achieve perfection, he found his motivation for the fight in his own way. and eventually, he would be granted the power to humiliate others... before eventually breaking free of this small world entirely

[space-specs]

Dick Grayson 🤝 Roy Harper

Sidekicks successfully able to move beyond their mentor and more well-known for their own individual vigilante identity now.

Stephanie Brown 🤝 Bart Allen

Original heroes that carried a couple legacy names before going back to their own unique hero names.

Tim Drake 🤝 Conner Kent

Stuck in the same name retelling the same stories and unable to fully grow as a character because DC can't seem to give them their own unique identities that would allow them to move on past this narrow idea of their characters.

[fruitisthenewvegitable]

JESUS DREW MY JESUS HEADCANNONS FUCK YEAH

the power of christ isn't even that compelling if i'm being honest

[jaythelay]

My only conspiracy theory is the universe is like a weird flexible marble and as of late that shit is in a blackhole and we're all feeling like shit because of it.

As bizarre as it sounds, it just feels like the world is coated in some funky shit, warped in a way we cannot percieve but can only feel.

Imagine different altitudes and their effects on ya, allergies even. Just bizarrely reacting to something all around us unconsciously.

Of course there's alot wrong with the world and people's minds, depression is a bitch, but something has felt off since 2013. The world feels greyer, the sky is darker, if I had to guess, Climate change or whatever.

Again it's a conspiracy theory, but no one is in control, let alone knows. It's just happening. It may be uncontrollable. If it's global warming then sure as shit it ain't a conspiracy but a weird Larp I attached upon it. But i do feel like our minds are affected by it in ways we can't quantify, happens so slowly it can't even be noticed.

[malachitezmeyka]

Suiren is Aplatonic

[gentaroukisaragi]

Saw a poll yesterday asking what your favourite subgenre of sci fi is, and there wasnt an option for other, so i'd like to state for the record that my favourite subgenre of sci fi is superhero but i guess its more just generally speculative fiction than specifically sci fi?

[crowdsourcedgender]

My zine, 'Label Coining as an Artform', is finally done! Transcript/Image ID underneath (warning: it's long). Printed version in a reblog.

[Image ID: A series of pages in a zine. The text is handwritten, and all figures described are simplified stick figures.

Page 1: ‘LABEL COINING as an ARTFORM in large text. Below is the multicolored MOGAI wheel, with three figures taking pieces of the colors and using them for art: sculpting, cutting a piece of paper, and painting. Below is ‘a MOGAI (& LIOM!) zine by Elliot/Hesper aka @ crowdsourcedgender on tumblr. Under the text are five pride flags: aro-spec, veldian, alterhuman, xenoman, and schooldoodlic.

Page 2: ‘Label Coining’ in large pink text. ‘(in this context) is the act of creating a word (and usually flag) for a certain experience!’. Next to this text is a figure filled in with pink with a speech bubble full of pink shapes, talking to someone using a cane holding out a hand and expressing a question mark. Below reads ‘generally a queer experience, but does often include or incorporate disability, neurodivergence etc.’ A figure asks ‘Why?’ and the text reads ‘I would say these are the ‘core tenets’:’. In a cloud next to this text is a blue and purple pride flag with purple text reading: ‘like this cool prosopagnosia flag I made!’.

The bottom half of the page is split into two columns: ‘Understanding’ and ‘Community’. The first column has a purple arm amputee explaining a purple rectangle to another purple person who is thinking ‘that’s me!!’. Next to them another purple person is explaining the same rectangle to a blank person, who has a purple-filled thought bubble with a white exclamation mark. Underneath the drawing is text surrounded by question marks: ‘Labels help people understand what they are experiencing, and communicate this to others. It’s easier to explain something when it’s already been written down!” The second column has a purple person holding a purple umbrella. They are waving to a purple person in a wheelchair. A purple person is leading another one to the group. Underneath the drawing is text surrounded by connected dots: ‘People can unite under a shared label whether this group is big or small! Whether for practical purposes (like advice) or just for fun, having people like you is nice.

Page 3: ‘And these are just as important as ever! But I’ve noticed what I like to call COINING for the sake of CREATION’. This last phrase is in large, dark and light blue text. Two sun symbols are on either side. Below is the text: ‘Vexillology is very clearly an artform, but label coining has become something more (not to mention that not all new labels have flags!). It’s composed of multiple skills has become more than the sum of its parts. Any art captures an experience, but label coining is much more explicit about it. And not just people’s experience of their identity! Part of the art of label coining is incorporating other concepts too, e.g. Schooldoodlic A gender related to doodling on school work papers and/or your homework. By spirits-gender-coining on Tumblr.’ The text about Schooldoodlic is small and light teal. Next to the text is its flag.

Page 4: ‘Elements of Label Coining’. The text on this page is separated into four green boxes.

‘Naming: Coming up with the actual word can be tricky. Generally, labels with lots of elements get more leeway with length. It’s important to check that a label isn’t already a word as well.’ Next to this text is more rough, dark green text reading ‘Premade suffixes + prefixes help! And latin (for some languages) as it’s possible to intuit meaning!’ Around the text is a few examples: ‘-vesil’ ‘-musica’ ‘an-’ ‘quoi-’

‘Flag making: Also known as vexillology, this is a pretty big deal. It’s also the most fun for me! You develop a really good sense of color from spending so much recoloring the same three stripes.’ Next to the text is 6 versions of the same pride flag, each with slightly different colors, with a 7th final version with a symbol.

‘Symbol making: Most flags don’t have symbols, but they’re good for groups of labels under a certain umbrella, or just if you have a really good idea.’ Next to this is rough, dark green text reading: ‘I drew three semirealistic flowers for a flag and ended up only using one’ with sad face. Under it is a drawing of a daisy, a pink coneflower, and lavender, which is circled.

‘Descriptions/formatting: Explanations can be artistic in their own right, and formatting is fun to mess with: many people have their own style. Make sure it’s accessible: add image IDs and plain text where applicable. There are a lot of good resources online!’ In dark green text is the phrase ‘Accessibility over Aesthetics’ with an image of a key on top and sparkles below.

Underneath the boxes in light green text is ‘Note: in the right context, any of these can be optional!’

Page 5: ‘If it wasn’t clear, I think this is AWESOME’. Awesome is in large text with yellow radiating lines. Underneath is ‘I’m a MOGAI coiner myself (generally) with about 65 coins at time of drawing. Using something I made, I wanted to demonstrate what a label coining might look like!’ Underneath is four versions of the same pride flag as well as a description, with ‘flag!’ ‘stripe meanings (I don’t normally do these)’ ‘symbol’ ‘name’ ‘pre-existing format’ and ‘experience’ labelled. The description reads ‘[Image ID was here] Human non-conforming (HNC). Human non-conforming (HNC, similar to gender non-conforming) is an umbrella label encompassing all identities and subcultures that somehow incorporate nonhuman elements in any way.’

Page 6: ‘The thing I love most about the label coining community is just that- the community! The way coiners and users interact, as well as how coiners can work together, is wonderful. There are 5 large words each with an associated doodle.

‘Requesting’: A figure leaning on forearm crutches has a speech bubble with yellow shapes exploding out of it. Another figure is taking shapes down from the bubble and forming it into a ball.

‘Collecting’: A figure is pulling a yellow cart with a large cloth bag labelled ‘LABELS’. They have stars in their eyes, and are looking at another person who is gesturing to a yellow rectangle.

‘Collaborating’: Two figures, one with orange speech and one with yellow speech and an AAC tablet are discussing, with many shapes and lines intermingling to make a fragmented rectangle.

‘Combining’: A figure in a grey hijab pulls down a lever. They are standing next to a large blender mixing orange and yellow liquids. On either side is bright yellow lightning.

‘Redesiging’: A small star with four radial lines coming out of it becomes more and more complex, indicated by black arrows.

Under the words is the text: ‘I’ve never participated, but there’s this amazing event called: COINFIGHT. Hosted by @ kiruliom on Tumblr. It’s inspired by artfight, and it involves coining labels for other people- but competitive-ish!’ Coinfight is in large, text with a crescent moon with stars at the top right corner, and a star at the bottom left.

Page 7: ‘I don’t think there’s anything like finding a label that finally fits you, or hearing that something you made did that for someone else.’ Under is a figure looking at an orange flower with light lines, then forming elements of the flower into a bubble, then showing an orange rectangle to another figure, with orange tendrils reaching towards them, forming the shape of a heart. Below is the text ‘There are a lot of things like pouring out your heart- or just having fun- while making or collecting label. I coin in the same mind I sketch and color and shade.’ On each side is a pen drawing an orange figure with a red shirt, and a tablet with an orange and red flag. Under this is ‘Label coining is an artform both like and unlike any other, and I’m proud to participate in it. I hope that if you want to, you can join me. And if that’s not your thing- thanks for reading!’ There is a drawing of a figure with dark grey wings holding up two fingers. Next is a ‘<2’ heart and ‘elliot’ as a signature. In smaller text next to these is ‘Thank you to the creators whose work is featured in this zine! Credit on the next page. Remember to keep this wonderful community and artform accessible to all!’

Page 8: ‘Credit’: This section has a pride flag next to each label. ‘Aromantic-spectum, @ theflagarchive on Tumblr. Turian, @ kenochoric on Tumblr. Schooldoodlic, @ spirits-gender-coining on Tumblr. Xenoman, @ ryanyflags on Tumblr. MOGAI symbol, Pride-Flags on DeviantArt. Alterhuman, @ vaestra on Tumblr. (the flag on pg. 4 is Wildflowergender). ‘About making this zine’: ‘I really, really regret handwriting this. Drawing over Helvetica Neue for so long might change my actual handwriting, [more rough:] which looks like this! According to Artstudio Pro, I took 14 hours! I barely planned this before starting, the color wheel theme and the people doodles. /End ID]

[marunene]

—· Castiel Head/canons!

(SFW/NSFW)

There are also some angels headcanons too! — Remembering that these are HEADCANONS and even if they don't make sense to you, they make sense to me./LH. Some (many) of them I only kept in a jar in my brain while I was reading fanfics, hehe...

English is not my first language, be patient with me.

SFW!

- Pansexual! I firmly believe that angels don't care about your sex or gender, for them it's practically the same thing besides your body.

- This also means that they don't care if you are a man or a woman, if you do something they don't like you will be beaten, probably die. I see Castiel from the first seasons doing this so— yeah.

- Autism spec. You can't convince me otherwise.

- For petnames, he doesn't use it much, but if he does sometime, he calls you honeybee or love. Probably "human" if you call him "angel".

- He LOVES physical contact, even if it's not apparent, he could cuddle with you for hours and still want more

- His wings are HUGE, dark and blue, when you touch them they feel like silk, they are so soft, completely from another world.

- And to complement, I like to think that they are quite sensitive to touch.

- If he were to choose a favorite color, it would be green because it reminds him of nature. But he also likes blue (sea and sky) and yellow (bees)

- His trenchcoat are his comfort object.

- HE HUGS YOU WITH HIS WINGS WHEN YOU CUDDLE OR ARE JUST SITTING NEXT TO EACH OTHER. Imagine him protecting you with them while you sleep <3

- Gets grumpy when drunk <3

- Legends say that Castiel once tried to make breakfast and Dean forbade him from touching his stove...

- He's almost always watching you, just... Looking at you. Sometimes it's a little creepy, but he loves you too much not to look.

- When you had your first kiss, all the light bulbs in the neighborhood just exploded and he looked at you with a surprised face-- (not because of the light bulbs)

- After seeing how good you are with children, sometimes he imagines what you would be like as a mother and what it would be like if you could have a normal life, without hunting, without dating an angel. He knows what could happen if you two had a child and can't even imagine what he would do knowing that he was the one who did this to you :3

- Physically, what he likes most about you are your eyes. And his favorite part of himself is his wings, even after the fall, it still reminds him of what he really is. Jimmy isn't exactly... Him. He's just a vessel. It wouldn't make much sense for him to choose some part of his body as his favorite.

- You collect his feathers when he's moulting (I love comparing angel wings to bird wings! Sorry...)

- besides tasting molecules, He can literally SEE them... Or at least some of them...

NSFW!

- PRAISE AND DEGRADATION KINK. It depends on the day, although at first if you degraded him he wouldn't understand why you would be doing that... But praise him and this angel will be on his knees for you.

- He's more into slow and sensual sex.

- He doesn't sweat at all, not in the intercourse or out of it. (This is canon actually)

- Something between 7/8 inches, specifically 18/19cm, a bit thick - (Misha messed with my head when said he has 9 inches, so hmm)

- He definitely doesn't shave, just let it grow and wouldn't mind if you didn't shave it too. He is an angel, he saw everything from the beginning, including Eve and Adam. There were no razors at that time.

- LOVES oral sex, give him a blowjob and he would be a pathetic whiny mess. However, he doesn't really like to GIVE bc of the taste of the molecules. (Human Cas would LOVE to taste you tho ;))

- As I said before, his wings are sensitive, he LOVES it when you stroke them when you 2 are having sex, even if it makes him a bit overwhelmed and quite Desesperate

- Usually a dom. He followed rules his whole life, let our little angel have a little control <3 But of course on his first time he would like you to tell him what to do, but over time he would become more confident and you are fucked.

- LET HIM USE HIS GRACE ON(in) YOU. Pin you against the bed, you can't even move properly as he fucks you w his grace, looking into your eyes with a little smirk on his face.

- As an angel, he has much more stamina than you, so you would only stop when you are tired. For him, you 2 could do this all night.

- MY BOY IS A VOYEUR! I'm sure he's watched you touch yourself and stuff when he were invisible, but never had the courage to jerk off to it tho

- He will look you in the eye almost all the time, he just can't help it.

- ALWAYS checking on you, asking if what he's doing is okay (especially the first few times you did this), he doesn't want to hurt you... :(

- Call him a good angel/boy when you're jerking him off and that you're proud of him when he finish, he'll fucking MELT.

- He'll get confused if you say “Oh my God”... Why are you moaning his father's name when he's the one fucking you? (HELP)

There are a lot of nsfw hcs I'm genuinely scared of myself, sorry 😭 I used practically all my headcanons in this post, there probably won't be a pt 2, be glad, mwah mwah mwah

Look at his Dom look HELPP

[farfromstrange]

Sub!matt idea. Sensory deprivation.

It can be common as a way of control, heighten the experiance or even to help calm and sooth to blindfold your partner and make them rely on other senses. But for Matt he already has this to the extreme which can be distracting able to hear three blocks away when all he wants to focus on is you his world in this moment.

After a day of honestly tiring input he just asks for you to take over he somtimes does that wanting someone else to control him for a while and he trusts you. And trusts you enough to fuck you with his hearing either gone or reduced only able to feel, smell and taste you which is more then enough. Esspecially when you focus on the touch lavishing his body with sensory your hands never off him roaming, soothing holding. Your lips almost always on him kissing, sucking biting anything to elicit the sweet groans of him. He keeps a hand on your chest or throat not controlling but to be able to sense your rumbling groans and soft sighs feel the uptick in your heart rate as he focuses on you and only you

I am SO sorry that this took so long! And when I finally started writing it, I got carried away, so it took me two whole days to finish. But I wanted it to be good enough after I left you hanging.

On that note, your smutty thoughts make me feral!! Not gonna lie, I sat in my lecture the other day and I couldn't stop thinking about this, which is why this turned out to be over 4k words. On this page, we celebrate sub!Matt and all that comes with him!

Thank you so much for your request, and I hope I could do it justice <3

Sensory Deprivation | Matt Murdock x afab!Reader

Masterlist

Pairing: Matt Murdock x afab!Reader

Summary: The world tends to get a bit loud, but thankfully, you're there to help Matt focus.

Warnings: SMUT (18+ MINORS DNI), sub!Matt, use of "good boy", oral m!receiving, swallowing, use of earplugs (sensory deprivation), Matt's catholic guilt, slight blasphemy, (almost) coming untouched, mention & use of safe word/action

Word Count: 4.4k

A/n: I'm so horny for this man, I can't function. Also, even though I did proofread this, I'm not sure if I missed any mistakes. My brain doesn't function as well as it used to. I'm sorry in advance.

More than anyone in this world, Matt believes he has to function, always, and without exceptions. He believes that he has to be useful, always doing something and never resting. His heightened senses make it impossible for him to turn his back on even the most minuscule cases of injustice, and he still beats himself up time and time again because he can’t be everywhere at once. He hears everything, smells everything, and feels the despair in the air, but in the end, he can’t take on the weight of the world all by himself. 

Ever since he met you, you have become his reprieve. You’re the haven he returns home to when everything gets just a little too much. When his senses are flooded and his heart is heavy. He crawls to you when he’s wounded, and he would crawl to you if he only had a few more minutes to live. You’re the first person he thinks of when he wakes up, and the last person he thinks of when he goes to sleep at night, preferably holding you in his arms to make sure that you won’t slip away from him. In you, he has found someone who would never judge him for who he is. Someone who will always stand by his side proudly, and someone who will hold him when he’s at his weakest. And he has been hanging off the edge of his breaking point for quite some time, holding on for dear life.

You can tell Matt must have had an awful day from the second the key turns in the lock to your shared apartment. His feet drag over the wooden floorboards as he makes his way inside. You look up from your book. 

Matt takes a deep breath, dropping his bag by the door. His shoulders are tense. He folds his cane, places it aside, and removes the red glasses you’ve grown to love—but you don’t nearly love them as much as his beautiful brown eyes, the green specks so distinctive, you could recognize them anywhere.

“Rough day?” you ask. 

He opens the first button of his dress shirt with shaky fingers. “Yeah. I don’t wanna talk about it,” he says. 

He hasn’t said hi to you like he usually would. Tonight seems to be one of those nights again. You know Matt well enough to pick up on the subtle clues in his behavior. He’s overwhelmed, possibly even anxious, and the weight he always carries on his shoulders is threatening to crush him. He’s walking a very thin tightrope, and he’s about to fall off. 

You place your book on the coffee table and straighten up. He rounds the couch you’re sitting on, his unfocused eyes searching for you. Your heartbeat resonates in his ears. Your breathing is regular. You’re calm. You’re his rock. You won’t let him drown, no matter how strong the current is that is dragging him down. 

Raising your eyebrows, you look up at him when he stops right in front of you. “No hello kiss?” you dare to ask. It’s a soft question, a little teasing, but he knows you mean well. 

Matt shakes his head. As soon as he breathes you in, he’s done for. His brain cells fry on the electric chair of his mind. His heart starts beating up to his throat. You’re so close yet so far away. You smell incredible; you must have showered after work, and then you sat down with your favorite tea and read your favorite book while waiting for him so you could have dinner together. You’re so considerate, you even used his scentless soap so all he would be able to smell is your natural scent. You consume him. The city moves into the background, and the bricks are about to fall off his shoulders. He’s close to collapsing, falling on his knees and begging you to take control to just make him forget, but he isn’t quite there yet.

A car honks in the distance. The night is calling for him. His hand clenches into a fist at his side while the other rests flat against his thigh. 

You slowly rise from your position. “Matthew,” you breathe his name like a siren. “What do you need?”

He sniffs. His fingers twitch. He has to go out, but he can’t. You envelop him in a bubble, and it makes him feel like he isn’t alone. Like he isn’t trapped. Like he can finally let go after holding on for so long. 

“Talk to me,” you say. 

His tongue darts out to wet his bottom lip. “There was so much noise,” Matt whispers back. “I couldn’t… I couldn’t focus. I’m trying to stay in control, but I can’t focus, and—” He breaks off into a shaky sigh. 

You chase his eyes; they’re glossed over. You reach out to tilt his chin in your direction. His eyes flutter closed. A stray tear slips down his cheek. It’s a tear stemming from months of exhaustion, physical pain, and emotional turmoil. He tried to push through, but he’s arrived at a point of no return. He’s breaking, and you’re the only one capable of catching him. 

After another deep breath, Matt’s eyes open again. “You’re here,” his voice is still barely above a whisper, but the smile that starts to grow on his lips speaks the language of relief. 

“I’m always here,” you answer. 

“You keep me sane.”

“I know.”

“I’m sorry I’ve been distant.”

“I also know that, but it doesn’t matter. I know how hard it is for you. If you need to be distant for a while and then blow off some steam, I’m okay with it.”

He shudders when your fingers brush his cheek. The faint bruise underneath his eye has turned green. You trace the injury with gentle fingertips. 

“What did I do to deserve you?” he says. 

You smile back at him, knowing he can feel it, and you guide him toward your face. “You exist,” you tell him. “That’s enough for you to deserve me.”

His nose brushes against yours, but before his lips can meet yours, he stops. He inhales your scent. He feels your pulse under his fingers from where he’s wrapped them around your wrist. Your skin feels so soft against his. He’s no longer on fire. The world is no longer on fire. He can let go. He wants to know that it’s okay to let go, but the voice in his head is telling him to stop. The crossroads he finds himself at won’t let him leave in the direction he wants to go. 

You can feel his inner turmoil. He’s holding back. He always does so. You’ve been together for what feels like forever, and he still doesn’t know how to ask for what he wants. What he needs. What he deserves. You told him to be primal when he needs to be. You told him to admit when you need to take over. He never does it out of his own free will. He waits until you force him into submission. 

Tonight should be the night he finally tells you. Matt needs to learn that his needs matter just as much as yours. His catholicism can go to hell for all you care. 

“I need—” He swallows. “I-I need t—”

“Go ahead,” you urge him. 

“Ugh,” the sound resembles a broken growl. And then, the barriers finally break. “I need you to take over,” he begs. “I need you to help me breathe again, sweetheart. Please. I need you.”

God, he sounds so wrecked. 

“You want me to take control?” you ask to clarify. 

He nods. “Yes.”

“Okay. Good boy. I can do that.”

Matt’s lips part in a weak whimper in response to your praise. Calling him a ‘good boy’ always has the same welcome effect. You don’t even have to look down to know that his cock is slowly swelling in his slacks. 

All the blood has rushed from his head and his beautiful rosy, stubbly cheeks to his groin. It doesn’t take much to turn him on, especially not in his current state—especially not if it’s you.

Hearing him admit that he needs you like this makes you feel a myriad of emotions. You want to take care of him, you want to love him, and you want to give him a moment of peace amongst the constant chaos, but there is also something so arousingly erotic about the way he begs for you to take control that makes your thighs clench. 

Often enough, he is the one taking care of you. Matt is a giver, not a taker. He always puts you first, but on some days, he just can’t bear it anymore. And you couldn’t possibly ask him to take charge in bed in his current state. It would break him. He’s a vulnerable man, whether he likes to admit it or not, and he can be as fragile as an ancient vase. You have to handle him with care on those days, which is all you intend to do as you guide him to your shared bedroom. 

You gently urge him to sit down on the bed. “Do you trust me?” you ask. 

His unfocused eyes flick from one side to the other. “Always,” he breathes out. 

“Good. Lie back for me. I’m going to take such good care of you, I promise.”

He would never doubt that. 

You climb into his lap, and finally, you kiss him. His lips part slightly in a desperate groan. Before he can slide his tongue into your mouth though, you pull away. His grabby hands are already resting on your hips, wandering, and wandering, and…

“Nuh-uh,” you tell him, taking hold of his calloused fingers and placing them on your upper thighs. “Patience, baby.”

“Please,” Matt begs. You love it when he begs. He’s completely putty in your hands. You could tell him to get on his knees and pray, and he would, no matter how blasphemous it may be. 

He’s holding onto you for dear life. You place his hand against the left side of your chest, allowing him to feel your heartbeat. He isn’t leaving you cold. He never does. Alone the sight of him is enough to make your thighs clench with need, but straddling him, you can’t get the friction you need. 

You reach for the nightstand to your right, opening the drawer. You know exactly what he needs. “Turn your head for me,” you murmur. 

Matt follows your instructions without questioning them. Finally finding what you were looking for, you retrieve the earplugs from the bedside drawer. This isn’t the first time you have used them on him, or he has used them on you. The specific brand renders you almost entirely deaf and renders Matt’s enhanced hearing almost to an entirely normal level.

You gently put the first plug into his left ear, then the other into his right. Before you push it in though, you ask, “Do you remember our safeword?” 

He nods. “Red,” he says. 

“Good boy. And when you can’t speak?”

“Tap your wrist three times.” His lips curl up into a weak smile. “Usually, I’m the one asking you that.” 

“Not tonight, you aren’t. May I put this in now?” You tap the earplug.

He nods again. It’s all the confirmation you need before inserting it, reducing his hearing completely. He lets out a sigh of relief. He closes his eyes, and you know he’s trying not to cry. 

“Are you sure you’re up for this?” you ask, cradling his cheek. His stubble scratches your fingertips, but it’s a welcome pain. 

He can still hear what you’re saying, feel the vibrations in your chest from where his hand is resting, and he smells you so much clearer now that he no longer has to listen to the city screaming at him in the background. Your arousal gets stuck to the tiny hairs in his nose, and he inhales sharply. Every nerve in his body is on fire. 

Matt moans. His tongue darts out, tasting the air. For a moment, he forgets that you just asked for his consent. Everything is so much more intense, yet it isn’t nearly enough. 

“Matthew,” you nudge him. “Talk to me.”

“Yes,” he whispers. At least he thinks he’s whispering. 

You smile, seemingly satisfied with his answer, and then you lean down to kiss him again. This time, you let him push his tongue into your mouth, tasting you, feeling you, and consuming all of you. He wants every ounce of you ingrained in his mind forever. 

His hands slide under your shirt, feeling the warmth of your skin. His focus is on you entirely. You help him take the pesky piece of fabric off, followed by his own. He’s suddenly so hot. 

Your teeth clash when you kiss. His cock is hard as a rock, pressing against his lower abdomen. You can feel it between your thighs. It must be painful for him. 

His kisses trail from your mouth, down your neck. He tastes the salt on your skin. Your pulse jumps as he drags his tongue over the vein. It’s a primal need. He needs to mark you. He needs to taste you, all of you, and make you his for all the world to see. An animalistic growl escapes his lips. His teeth dig into your skin. He nibbles just enough to make you moan, your chest vibrating underneath his hand. Matt doesn’t even hesitate to grab a handful of your breast, tugging at your sensitive nipple until it’s stiff enough to rival his aching cock. 

You throw your head back, your jaw slack, and he uses the newfound space to kiss down to your collarbone. You’re going to be purple and bruised tomorrow, but you don’t care. 

With a demanding grip on his hair that pulls at his scalp and causes him to groan against your shoulder, you push his head toward your chest. He isn’t in control, you are, and you know how much he loves to please you. 

Like a man starving, he sucks your nipple into his mouth. No, it’s not just your nipple. He takes as much as he can into his mouth, his teeth grazing the sensitive nub only momentarily before he moves on to the rest of your silky skin. 

You moan. You have to let him know that you’re enjoying yourself. He feels the sound deep within your chest from where his hand is resting, and the way your breast moves slightly when you moan. Matt only becomes more eager when he feels and smells what he’s doing to you. 

The scent of you is addicting. Your arousal smells slightly sour, sometimes slightly metallic, but most of all, it is you. And when he tastes your essence on the tip of his tongue without even licking at your slick folds because you are simply that wet, it makes him feral with this insanely primal need to have you. 

He wants to spread you out before him and taste you until you’re coming all over his face. Though today, he is too weak to keep you restrained to the mattress. Matt takes what he can get, what you are willing to give him, and he does so eagerly, like the good boy that he wants to be for you. 

With the world silenced, he can focus on you. The way your heart is hammering against your ribcage, right against his palm. The way your chest heaves with every labored breath you take as he sucks and sucks at your breast until your nipple is beyond swollen. He can feel how smooth your skin is, smell the remnants of your body lotion that he sometimes steals so he can smell you everywhere he goes, and the slight sheen of sweat that has started to cover your body from head to toe. And he can smell your arousal so thick in the air, his cock jumps at the mere thought of sinking into your tight walls—of being completely consumed by you, body and soul. He doesn’t need to hear right now, all he needs to do is feel you. 

You know about his desperate urge to please. You know that, even while you’re in charge, he wants nothing more than to make you feel good. Matt is anything but selfish. But his selflessness doesn’t have a place in this bedroom tonight. 

As crazy as his mouth on your breasts is driving you into an oblivion of pure ecstasy, your walls clenching around nothing, you find it in yourself to pull him away. 

With his eyes hooded, he looks so delicious. His cock is still straining against his lower abdomen in his underwear. When you pull him away, his expression reads offense. You can’t help but snicker. 

“Did you think I’d let you make this about me?” you say just loud enough for the sound to reach through the earplugs. 

He exhales. “I was praying,” he says. 

Praying. He is too far gone to realize. There are sides to Matt Murdock you love more than others, and when he becomes blasphemous, it does things to you. This good catholic boy turns into mush when you just touch him, and then you are his God. You’re who he wants to worship, and he would pray to you, worship at the altar of your body, and drink your essence like holy water if it meant being all over you and inside of you. And you take your position very seriously. 

He trusts you. That is not a small feat. He trusts you with his body and soul, and he trusts you with the most vulnerable parts of him, be it in bed or merely a hug after a bad day. You know what he needs, and he trusts you to take care of him. He wouldn’t let just anyone do what you do to him.

“What were you praying for?” you ask him. 

“You,” he whispers. 

“You can have me, but first… focus.”

He told you he was losing focus because the world was far too late, so with the noise reduced, you will help him focus on something other than the world out there. 

“Feel that?” You kiss his mouth, and from there, you move down to his stubbly jaw. “Focus on that. Focus on me.”

Matt sucks in another sharp breath. While one hand still rests on your chest, the other comes to rest around your neck, feeling your pulse, feeling you, and his eyes flutter closed at the feeling of your luscious lips all over him. 

Your kisses trail down his neck. You pay close attention to the sensitive spot behind his ear. He moans. His hips buck upward. He’s so painfully hard, his cock has already started leaking pre-cum into his boxers. 

Each scar, each indentation on his skin that reminds you of all the good he does at the expense of his health, you kiss. You trace your tongue over the healed wounds, feeling the warmth of his skin seep into yours. He’s so sensitive. 

His fingers involuntarily clench around your neck, but you don’t mind. He’s not choking you, he’s simply trying to hold on. You have established a safe word for a reason, after all. He can get carried away the same way you can get carried away.

You wouldn’t dare push him too far though. Not tonight. Not when he’s already this wrecked underneath you. You purposefully leave his nipples out of the equation and move further down his body. His abs tense under your tender touch. You can’t help but smile. 

And him? Matt feels like he’s floating. He can feel every kiss against his heated skin, your fingertips tracing his scars after you’ve so sensually pressed your mouth against them, and he can feel your every breath as you move downward. Every kiss leaves a series of shivers in its wake. He’s hot, yet he’s cold. He needs more, but at the same time, you are already close to driving him into overstimulation. 

His balls tighten. He can’t believe that the feeling of you is enough to make him want to explode. He knows that if you touch his cock now, he might as well come right then and there. It’s so much more intense like this when he doesn’t get distracted by the world outside. You are his world, and you are all he focuses on. 

You move further down until you reach his boxers. His arm is no longer long enough to keep his hand around your neck, so he moves it into your hair. It’s a silent warning, you suppose because he is close. You only kissed him, and he’s already so close to coming undone. You don’t blame him. He’s been so tense lately. 

You press a kiss to his hip bone before murmuring against his milky skin, “It’s okay.”

Matt whimpers. Your words make their way into his bloodstream. 

You pull his boxers down. The cold air hits his aching tip and the way his back arches makes you almost feel bad. You spit into your hand, but you make sure your palm is warm enough before you reach for his girth. 

The moment you touch him, he’s done for. “Sweetheart, I can’t–” he chokes out, but you shush him by placing your lips against his tip. 

You lick at the salty pre-cum. It tastes like him. You can’t deny that you missed this while he was so distant from you. This is as much for you as it is for him, that is something you can’t deny either. You’re a little selfish tonight. Just a little. 

His words of protest get swallowed by a needy moan, and his fist tightens in your hair. He’s not going to last long. 

Matt is not one to come early. The guilt swallows him faster than you can swallow his cum, which is why he always holds himself back. Tonight though, you won’t let him torture himself for your pleasure. You hate it when he does it. 

“Ugh!” the moan comes from the depths of his chest. “Fucking–God!”

You take him into your throat as far as you can without gagging, and what you can’t take, you wrap your hand around. He’s so thick, and he’s so incredibly big—you can feel the tears forming in your eyes. But God, he is so beautiful with his head thrown back, brown eyes squeezed shut, and that little drop of sweat dripping down his temple. It’s lewd, it’s erotic, and it makes your thighs clench. 

All of his reservations vanish when you take him all in. Your throat is tight, but you’re enthusiastic. Your tongue traces the vein on the underside of his cock, moving back up to the overly sensitive head. Your hands cup his balls. Every time you go down on him, Matt swears he can feel heaven reaching its hand out to him.

He grips your hair a little tighter, his other hand tangling in the sheets. He’s so close. He twitches, painfully so. And when he comes, he instinctively pulls your head upward so you won’t choke. His hot cum spurts down your throat, and you have no choice but to swallow. 

You surprise both yourself and him when you fight against his hand and force yourself down far enough so that your nose brushes the base of his cock, and you gag. 

Your throat is so tight and hot that it drags his orgasm on for eternity. He can hear his blood rushing in his ears. His heart is racing out of his chest as if it has somewhere to be. The fire ripples through him, the inferno turning into a dangerous explosion that tears his nerves apart, putting them back together just to tear them apart again. He feels as though the skin is falling off his very fragile bones, and his muscles collapse in on themselves. 

Matt can’t breathe. When he finally manages to untangle his hands from your hair, he lies there. The blood in his ears is obnoxious. He can’t hear. He can’t see. And suddenly, he can’t even feel anymore. He doesn’t exist. Reality slips away into a moment in time. Now, he’s dying. It feels like he is dying. 

You pull off his cock, catching your breath. His cum trickles down the corner of your mouth. You wipe it away. Pressing a kiss to his hip bone, you look up through your lashes. At first, he looks blissed out, but his expression quickly changes. 

He can’t talk. You take his hand. “Matt,” you coax him. 

Not even his chest is lifting in time to accommodate his heavy breathing. His body is shaking as every ounce of stress falls off his shoulders, and his nerves fall victim to the inferno that is still wreaking havoc inside of him.

He taps your wrist three times. 

“Okay,” you murmur. You quickly climb back up his body. 

“Out,” he manages to tell you, weakly pointing to the earplugs. 

“Okay, baby. I’ve got you. Just breathe.”

You pull the earplugs out as fast as you can. Matt’s arms wrap around you, searching for a lifeline, and he pulls you against him.

“Shhh.” You cradle his head in the crook of your neck. 

You hold him like this for a while. You hold him against you tightly, gently, as if he is the most fragile thing you have ever held. 

Eventually, his breathing returns to normal. His heart starts to slow down. His fingertips no longer dig into your back as desperately as they have before. He’s just content now. 

You press your lips to the crown of his head. “You okay?” you dare to ask. 

Matt takes a moment before he nods. He leans back slightly. “Thank you,” he breathes. 

“For what?”

His lips curl into a tired yet satisfied smile. “For helping me focus.”

You smile back at him. “My pleasure,” you say, and you lean down to capture his lips in a loving kiss. 

“I love you,” he murmurs into the kiss.

“And I love you, Matthew Michael Murdock.”

“Oh, you love me that much, huh?”

You giggle, “Shut up!” before you pull him in for another kiss. 

For now, he needs to catch his breath and pick up the pieces you shattered by giving him this orgasm, but you know that once he does, it is going to be a long night for you. And you won’t be able to find it in yourself to complain. Not that you want to, anyway.

Matt Murdock Smut Tag List: @acharliecoxedfan @gpenguin666 @linamarr @mcugeekposts @itwasthereaminuteago @mattkinsella @norestfortheshelbywicked @yarrystyleeza @littlenerdyravenclaw @etanordoesbullsh1t @thychuvaluswife @harleycao @schneeflocky @imjustcal @pipsqueakkitten @merlinbtch @sya-skies @amberritonicole @ravenclaw617

[burrythebusy]

I love going back to reread hrkg because I just learn something new every time even without the influence of the recent chapter. I particularly love analyzing Kagiura’s character. His view on love and romance and family and marriage was just so interesting before. It was so innocent, meaning he didn't think of it any more or any less than just "I get to stay with him, only me". Like that's not the average thought for a crush. And Niibashi tells him that, he's like do you even view him romantically, or do you simply just wanna keep him close? It could be interpreted as so many things. Like aroace spec hrkg is such a real interpretation.

And it gets me even more when I view it in reference to his past relationship. Like his most Romantic™ action ("What lovers do") is a lap pillow. Because she was his girlfriend and that was the reason given for it. We're dating so this is something that people thay are dating do. So his middle school self is like oh okay. And it happens and he's stiff. And he doesn't think it feels right. And that follows him to high school bc if we're dating and this is something people that are dating do, why doesn't it feel right? But yes. That's literally it. That's as romantic as it goes for him until Niibashi mentions kissing. Which he didn't even think about. He claims it's an influence of never really seeing his parents kiss. His view on love IS his parents. It's influenced by those around him (ooh). But it's also because marriage is supposed to mean you're in love. And his parents are in love and act like best friends and rarely kiss so that's what the young Kagiura thinks of love to be like.

Now I don't know what influenced him to get with his girlfriend per se. Because (!!light novel stuff!!) I think it's implied that his view of love and marriage comes after his girlfriend, not before, which would make sense considering his relationship didn't work out. It also makes sense if it came before. Because why did it start? I genuinely think that he might have liked, and i think that's what was said. But i think he liked her as a friend, and he's expected to get with girls, and if his view on marriage was getting started at any point then. That's literally a prerequisite. A relationship like best friends. So he dates her and it just doesn't feel right. And it could've been because he treated the whole relationship like a friendship with a different label which wasnt what his girlfriend wanted. And then the one "traditionally romantic" thing that comes along, close physical contact, still doesn't feel right.

Going off of context clues here. It's safe to say they never kiss or even hold hands really. It's probably the only thing they ever did, the lap pillow. It's what Kagiura thinks about when he thinks of romance and what lovers do because it's the one thing he failed to FEEL right about. And if he liked her. Why didn't he?

Obviously everything isn't surface level either, on one surface. Because Kagiura’s personality comes into play too. There's probably more to be said about his politeness, how we don't see him really challenge anybody on what they say (except Hirano for obvious reasons). If his girlfriend said dating -> lap pillow then he's gonna say okay. Sure. Even if he's unsure about it. But we don't get much of his personality from then. We only know this snippet, and the fact that it bothers him.

But we also know WHY it bothers him after ch. 6 and 7, and in 16a. Kagiura doesn't think about kissing Hirano because his view on love and romance is limited to how his parents show it, and how his ex girlfriend showed it. He hasn't developed it on his own yet, at least not consciously. He likely never kissed his girlfriend (and if he did it doesn't stick with him at all since the first thing he thinks about is literally the lap pillow) and he doesn't see his parents kiss so Niibashi asks him about kissing hirano and he's like "idk lol". Hence why, does he even like Hirano romantically? (And though you can be in a romantic relationship without kissing, the question still remains as to how he sees his feelings for Hirano, considering how juvenile they seem*)

But the difference here is that, without thinking about it, Hirano and Kagiura were becoming best friends. Kagiura didn't go into friendship with Hirano thinking he's a love interest the same way he might have with his girlfriend. Hirano treated him really well and they developed this natural thing and Kagiura started to develop a natural Kagiura version of a crush. But still, every action after that wasn't with the deliberate intention of his outlook on love. It remained natural. So that "prerequisite" was already fulfilled (and honestly, it could easily be viewed separate of how he sees romance from his parents. Again, it all happens so naturally and easily for him).

So in chapter 6, he thinks about what Niibashi said more and then the urge comes. To kiss Hirano. The first time he's probably thought about kissing anyone. So it's already an outlier to how he views romance anyway because kissing never had to be a part of it but now it is. BUT WAIT THERES MORE!

Because next he decides to indulge in something he can easily call back to. His girlfriend and their experience. People that date do lap pillows. How would that feel with someone I'm in love with, someone I now know I want to kiss? And I truly don't think he expected much from it because of his experience of not really liking it. Of it being "off". But Hirano lies in his lap and his mind blanks. And then he lies in Hirano's lap and he can't do it. Not because it feels off or wrong. But because he felt too much. A LOT in that moment. Cue his sexual and sexuality awakening/crisis. It literally scares him out of being NEAR Hirano for extended periods of time. Out of touching him. Because this new attraction is foreign to him. He now actively wants to touch him, actively wants to kiss him and at this point he already knew hirano doesn't see him that way so what do you do?

Then 16a comes. They're starting to touch for ten seconds a day because Hirano said he would try, and Kagiura’s largest guilty pleasure is literally just physical contact. Particularly with Hirano. Which he used to do so casually but can't bring himself to. So he asks hirano when it's okay and they agree to ten seconds.

To me, this is when he comes to terms with the fact that he never romantically liked his girlfriend in the first place. Because he knows hirano isn't in love with him at this point despite Hirano agreeing to try. He knows what they feel is different. Which is exactly what happened with his girlfriend. That's why he's afraid he was making Hirano feel how he felt with his girlfriend back then. Uncomfortable. "Off". And when I view it in context I always come to the conclusion that he didn't like her (let alone love her). This may not be his first relationship but it is his first love.

All this to say... literally nothing. I just love digging into Kagiura’s character, how his past does end up influencing the present in really subtle ways. I mean think about it, he feels so guilty for wanting to touch Hirano that he limits himself to the ten seconds. Like every time before chapter 14 that they touched just because (locking arms, holding his shirt or his wrist just to grab onto him, that natural gravitation) is just gone. Because now he loves someone who doesn't love him so how could he possibly put the pressure on him to touch him in the same way? He gave away his right to do that. But it hurts him. (And it hurts Hirano too). Another problem. But that guilt doesn't come from nowhere. He doesn't want Hirano to feel how he felt with his girlfriend. He doesn't want to make him uncomfortable or push his physical boundaries and make himself a sad memory in Hirano's high school years.

Kagiura is experiencing this extent of love and a crush for the first time. He lied in his girlfriends lap hesitantly but did it because they were dating and didn't like it. And I feel like a great fear of his is making Hirano feel that way too. So he wants Hirano to feel the same way desperately without pushing the physical boundary that has once made him feel unsure and weird. He loves Hirano so much that he'll limit himself as much as he can bear in this process. (Which, isn't the greatest thing. It's almost contradictory). But that's his experience. That's how he's letting it influence him. And it's so interesting to me.

Erm this is long anyway I love doing Kagiura character study. Obviously this is my interpretation and how I view his character to be. And we are all influenced by our environment in the end, especially those that have an important place in our lives (hint hint wink wink iykyk) but some people still build their own wants and desires with that as a foundation. Kagiura took his parents as the blueprint itself. THE guide, THE directions. So now I think he's on a journey of defining love for himself too.

[gunnrblze]

The sibling dynamic between Hesh and Logan has rotted the innards of my brain. Long ramble of me reading into this too much and probably making it personal below the cut, lol.

They’re extremely close, grow up practically codependent, at least from a certain point onward. Hesh brothers Logan in an almost fatherly way sometimes because their actual father places this responsibility on him (albeit largely unintentionally I imagine), for the literal sole fact that he’s two (2) years older than Logan. That’s it, just two. He got parentified like a lot of older siblings tend to be, purely due to circumstance of being the eldest. If Logan was older this dynamic would most likely have been the same thing. Hesh was pushed into this protector role regardless of how he feels about it.

And I wonder how it would’ve panned out had Elias tried to foster a more ‘behave as a unit’ approach rather than ‘Hesh protect Logan regardless’ type thing. Logan followed in Hesh’s footsteps (QUITE LITERALLY!) and strived to be just like him. During all their training, they “became men” together and learned how to communicate non verbally to the point where they’re near fucking telepathic.

Yes they fight together, yes Logan was there for Hesh always, “Logan has my back and I have his, we’re brothers” yes yes yes. But Hesh was damn near playing caretaker for him sometimes. From the beginning of the game we see Elias telling Hesh to look out for Logan constantly, and he continues to throughout the entire game. And at the end when Rorke drags Logan away you can hear the pain and the panic in Hesh’s voice (duh). Can see him trying to reach for him and crawl to him. From the beginning to the end, Hesh is Logan’s big brother in every sense of the word. From childhood to the moment Logan is drug off the beach, Hesh is right there with him like a guardian angel. Or more like a guard dog maybe lol. And I just wonder what difference it would’ve made if Elias didn’t force Hesh (whether he meant to or not doesn’t even matter) to shoulder the burden of not only growing up himself, but guiding Logan so heavily at the same time.

And what gets me the most about this is that Logan is just as experienced as Hesh, minus those two years that Hesh joined the army before Logan turned 18. They trained together, Rorke implied that Elias trained them a lot himself, and Logan is just as capable. Just as intelligent, prepared, skilled, etc. Yet in some parts of the game, it almost seems like his ‘baby of the family’ role follows him, despite being a skilled spec ops soldier fighting an active war, and it’s just so interesting to me. I just know this has gotta be a deep seated thing for Hesh, to have been his brothers guardian in a sense, despite only having two years on him. He was just as young and confused, just as in need of guidance, and yes Elias provided a lot of that for the both of them, but Hesh kinda had to wing it a lot I think. He didn’t have an older sibling to look up to because he IS the older sibling being looked up to.

And on the flip side, how is Logan meant to interpret that growing up, in any other way besides ‘Hesh knows more, does more, is better than me, knows better than me, etc’ type of thing? You’re being looked after by an older sibling half the time, of course you’re gonna idolize them more than a sibling might do so even in a regular/healthy circumstance. Like yea that’s his big brother and he’s gonna look up to him regardless, but you’re only two years younger being silently treated like you’re in need of this caretaking….c’mon. Elias created a dynamic in which the two of them are so codependent, that it had to have hurt Hesh on an even deeper level to lose Logan than it already would’ve. That would already be soul shattering in the first place, especially with the dogshit ass circumstances they were in, but to lose the little brother that you most definitely feel personally responsible for…? This is why I think Hesh would genuinely be tweaking the fuck out post beach.

And to add onto this ramble about Merrick becoming like a mentor to Hesh, I can see Hesh getting some actual older male guidance without the addendum of ‘also here’s this other guy you need to look out for’ being healing in a way. Dare I say Keegan/Kick would even become like an older brother figure to Hesh and kinda fill that hole, the older brother he didn’t get.

Anyways idk I’m insane about them always. You unintentionally made your sons codependent on one another, and then you die, and then one son is taken, blah blah we know what happened. I mean damn lol.

[thelikesofus]

starting our forever, baby

9-1-1 on ABC | Buddie | 2.1k words | s7 spec, prev bucktommy, getting together, love confessions, love is stored in the kitchen

Eddie wakes up to a surprise visit from Buck and they finally talk about forever.

Read on AO3

Eddie wakes up to the sound of pans clanging in the kitchen and the smell of pancake batter and hot butter. Neither of these things is cause for alarm nor out of the ordinary but he is ninety-eight percent certain he went to sleep in an empty house. 

He rolls out of bed, shrugging on a sweatshirt and grabbing a pair of soft socks out of his drawer on the way past and to no surprise finds Buck in the kitchen.

“Hey! Eddie,” Buck smiles brightly at him as Eddie cautiously perches himself on a kitchen stool. “Good morning.”

Buck is bathed in sunlight from the kitchen window behind him, a halo of gold filtering through his soft curls, gel-free and touseled on the top of Buck’s head in a way that Eddie wishes he would let them be more often. “Morning, Buck. You’re here early.”

Buck bustles around the kitchen, pulling milk out of the fridge and grabbing a mug from the top cupboard, his body moving around Eddie’s kitchen as if it has been programmed with an innate sense of where to find anything and everything. He could be convinced that Buck knows his way around Eddie’s kitchen better than Eddie does. “Yeah, yeah, I know. I’m sorry. It’s just–it’s been a while, yeah? And I feel like I haven’t seen Chris in ages–I miss the kid–and I figured he was probably, if not missing me, at least missing my pancakes. I hope he hasn’t been letting you make them.”

Buck pours coffee from the pot into the mug, tops it off with the precise amount of milk that Eddie prefers, and sets it in front of Eddie before turning to the frying pan and flipping the pancake. “I know you’ve been improving in the cooking department–I can see it, Eddie, and I’m proud of you,” Eddie’s heart squeezes in his chest. “But pancakes are my department.”

“I wouldn’t want to steal your thunder.” Eddie quips and Buck whips around to wave the spatula at him.

“Exactly!”

“Buck,” Eddie presses carefully because there’s a frantic energy fizzing beneath Buck’s skin, he can see it in the way he moves, the line of his shoulders, and the exaggerated way he swings his arms. “Christopher isn’t here. He’s on school camp until Friday.”

“Oh, right, I knew that.” Buck’s whole body joints to a stop like a record skipping on a turntable and then just as soon he’s back in motion again. “That’s okay! I brought lemon juice for on your pancakes, we can save the bacon for the weekend when he gets back.”

Eddie’s heart grows three sizes in his chest, threatening to burst out all over his kitchen and cover Buck and the bench top in a flood of emotions he’s spent the last month and a half trying to fold smaller and smaller until he can safely tuck them away beneath his ribs where it can’t hurt anyone but himself. 

“Buck?” The other man glances at him before turning back to the stove, giving a soft hum in response. “Are you okay?”

“Yeah. Yeah, why wouldn’t I be?” Buck grins at him again but it doesn’t reach his eyes this time. 

“You’re buzzing, and not the good kind.” Eddie stands and rounds the counter, he leans against the other side while still giving Buck as much space as he needs. He presses again, softer this time. “Buck? What’s going on?”

Buck deflates and turns the stove off, removing the pan from the element and leaning against the other counter opposite Eddie. “Tommy and I broke up. I broke up with him, or we broke up with each other, I guess.” 

Eddie isn’t sure what to say. As far as he knew Buck and Tommy’s relationship had been going smoothly. They were a good fit, even Eddie could tell, as much as it sometimes pained him to admit. But he was happy for them. Seeing them dance together at Maddie and Chimney’s wedding had filled Eddie with a sense of pride even when it also left him feeling like he was walking with a permanent rock in his shoe—a phenomenon he could finally put a name to after a few long talks with Frank and an enlightening if not nervewracking night at a bar called the Peacock that Hen had suggested he visit for ‘research purposes’. 

“I thought you really liked Tommy?” Is what he finally manages to say once he unsticks his tongue from the roof of his mouth.

“I do,” Buck says. His arms are still full of static as he gestures with his hands in that way that Buck does when he’s nervous or overwhelmed and he’s not looking Eddie in the eyes. Buck shakes his head. “I did. I did, and Tommy is wonderful but I think we both realized that it wasn’t going to last. He got offered a job, down in Mexico.” Buck pushes away from the bench, pulls two plates out of the drawer, and starts dividing the stack of pancakes between them.

“After the whole fiasco with the cruise ship, the LAFD decided they wanted someone on the ground down there as a sort of link between the Los Angeles rescue helicopters and the team down in Mexico City. They’re going to put him in charge of his own team and he’s been working towards some sort of promotion for ages so he’s really excited about it.”

“He didn’t ask you to go with him did he?” Eddie can’t help but let the question burst out of him. The thought of Buck leaving already feels like tearing out a lung but he also knows he’s in no position to ask Buck to stay, certainly not for Eddie’s sake. 

“He did, sort of.” Buck shrugs. “I think he already knew I wouldn’t say yes. L.A. is my home, I couldn’t leave the 118, I couldn’t leave Maddie and Jee-yun. Christopher, the thought of being anywhere that kid isn’t is just—and I know he’s not—but I still couldn’t. I won’t. Tommy knows that. He also knew that I wouldn’t leave you.”

“Me?” Now Eddie has to swallow down a lump of surprise. Eddie doesn't think that little of himself, he knows he’s important to Buck, they are important to each other, but important enough to be the reason Buck stays in Los Angeles while his boyfriend moves to another country?

Buck turns to place two plates, carefully stacked with fluffy, golden pancakes, each drizzled in lemon juice and sprinkled with sugar—Eddie’s favorite—on the kitchen island, and then he’s facing Eddie again only feet away in all his early morning glory and Eddie dares to hope.

“You.” Buck rests one hip against the counter and turns the full power of those bright blue eyes on Eddie as he finally makes eye contact for the first time all morning. “Yes, you, Eddie. Tommy is lovely and sweet and he has been so, so good to me for the last two months, we’ve been good for each other, I think.”

Eddie breaks the eye contact, he’s heard all about how wonderful and lovely Tommy is for the last two months and while he has been so happy for Buck, truly, it has also been agony. But then Buck is stepping up into Eddie’s space and gripping his elbow. Buck ducks his head until he can catch Eddie’s eyes again and follows his gaze until Eddie gives up on trying to hide from him. 

“But it was never going to work long-term, I don’t think it was ever meant to. He’s very sweet and we get along well but it never got any deeper than that. We made better friends than anything else.”

“Okay, so you ended it on mutual terms and he’s moving to Mexico?”

“Not for a few months but eventually he is yes.”

“A few months?”

“Next February.”

“February? Next year? Buck that ages away, why break up now if he’s not leaving until–.”

“Because it was time.”

“Time for what?”

“To stop lying to myself, to you.”

Eddie almost bites his tongue. “Lying to me? Buck, I am so confused right now. Did you hit your head? You do remember coming out to me right? You’ve been dating a man for the last two months. You brought a man to your sister’s wedding. Honestly, I am still living off of the high that I got from seeing your mother’s face when you kissed Tommy on the dance floor, that was—.”

“Eddie!” Buck laughs around his name and it’s the sweetest sound Eddie has ever heard. “Would you let me finish talking? Please?”

Eddie nods. “Right, yes. Sorry. Proceed.” He swings his arm out dramatically and Buck pinches the skin on the back of Eddie’s arm and rolls his eyes. 

“Eddie,” There’s a seriousness to Buck’s tone that Eddie doesn’t hear often. “I don’t want to presume anything okay, so if I’ve been reading this wrong then please tell me because I don’t want to make this weird, the last thing I want to do is hurt you or make you uncomfortable but—.” Eddie watches the tick in Buck's jaw tighten. “There’s something here, right? You and me?”

“Do you think there is?” Eddie whispers into the space between them, barely getting the words out past where his heart sits in his throat. 

“I dare to hope there is,” Buck whispers back. “I would like there to be. Eddie, you’re my best friend, you’ve been my rock for years and I love you more than anything but I also—I also think I might be in love with you, and I think I have been for a long time.”

“You think?”

“Like pretty God damn certain actually.” 

“Good, good.” Eddie nods, barely keeping the grin from breaking across his face. He can feel his lips twitching with the effort to suppress it. “That’s good.”

“Yeah?”

“Yeah.” He steps into Buck’s space and leans forward until he can press their foreheads together. Buck’s arm slides from Eddie’s elbow to around his waist and Eddie rests his palm against Buck’s chest, sliding it up until he can wrap his fingers over the swell of Buck’s shoulder and press his thumb into that divet in Buck’s throat where Eddie can feel the heat of him and the pulse of his heartbeat beneath the pad of his thumb. “Because I am definitely in love with you.”

“You never said anything.”

“I didn’t know and then I did but you were with Tommy and you were happy. I was happy for you.”

Buck breathes deeply and Eddie reveals in the way it rushes past his cheek. “What about you?”

“I’m happy now,” Eddie says and it’s true, and realizing that only multiples the happiness tenfold. “I’m so happy I could burst.”

“Happy that I got dumped again?”

“You didn’t get dumped, you said it was mutual.” Eddie squeezes his shoulder. “But yes, happy that you might finally be mine, that I might finally get to be yours.”

Buck leans back and when Eddie opens his eyes he finds Buck’s eyes glassy and brimming with tears.

“That’s all I’ve ever wanted,” Buck says and Eddie pulls him into his arms until they are chest to chest, chins hooked over each other’s shoulders and wrapped up in each other so completely that Eddie could not tell you where one of them ends and the other begins and it feels so right, so right to have Buck so close to him, for them to be one and the same. They breathe together for a long time, squeezing each other closer whenever the micro fraction of an inch between them begins to field like football fields of distance.

“We take this slow, we do it right,” Eddie says carefully, pulling back just far enough to cup his hand around Buck’s cheek and hold his gaze. A niggly part of his brain tries to remind him of everything that could go wrong, of everything they have to lose, but a bigger part of him can only hope for everything that could go so beautifully right. 

“We have the rest of forever, after all.” Buck’s smile is soft at the edges and it smoothes the jagged parts of Eddie’s worry. 

Eddie leans up and presses one gentle kiss to the corner of Buck’s mouth, allowing himself that much for now. The rest will come, he is in no rush for the rest of his life. On Friday Christopher will be home and they can make pancakes again. At the end of the month, Buck’s lease will expire and Eddie will finally have an excuse to never let Buck leave his house again. In February they will wave Tommy off at the airport and Eddie will get the chance to thank him properly. Soon enough they might get to dance at another wedding, maybe their own, definitely together, for the rest of forever. 

“Forever and a day.” He promises.

[splatsvilles-fashionista]

Ranking the promotional inklings/octolings by how much I like their outfits: Splatoon 1

Kaori:

Studio Headphones / White Tee / Pink Trainers

A simple black/white t-shirt + headphones combo alongside some aggressively pink shoes

The neutral colors of the top half of the outfit work really well to let the shoes and hair pop, which is important given that she was our first introductions to the inklings as character designs.

The only thing I can dock this outfit points for is being pretty basic, but that's also kind of the point. I'd personally prefer something with a bit more pop, but it's kind of unassailable.

4/5. She's iconic for a reason.

John:

Pilot Goggles / Zink Layered LS / Purple Hi-Horses

Similar to Kaori this is primarily a neutral outfit that puts the emphasis on the colorful shoes.

That said I like this one less than Kaori's. It's a little bit busier and the shoes don't pop as much given their darker purple tone.

Also I just don't like the Hi-Horses very much, sorry.

3/5. I can't be too harsh on him because the fit is meant to be basic, but I don't think it comes together as anything more than just Kaori's outfit but worse.

Mizuho:

Bobble Hat / Green Zip Hoodie / Moto Boots

Nice natural colors give this 'fit am active, outdoorsy look.

I like the big boots on a sniper's outfit. It makes her feel grounded and stable.

The big bobble hat is also a slightly disarming feature, it makes a bit cute, and given that she's a sniper I think she'd read as a much more serious person if she wore something more self-serious like sunglasses.

4/5. I just think this one is really good.

Rui:

Retro Specs / Baby-Jelly Shirt / Blue Slip-Ons

This 'fit flips the script the promotional characters have followed so far, really drawing your eyes to the polka dot shirt compared to the glasses and the single-color shoes.

The combination of the patterned button-down, the big boxy glasses, and the shorts (not that you had any other legwear choices in Splatoon 1) gives the outfit a vibe that to me feels straight-laced and whimsical all at once.

He has the energy of a stoic office worker with some very eccentric fashion choices.

3/5. I don't think it's very cohesive, but I can't bring myself to dislike it. It's got a lot of charm.

Laura:

Takoroka Mesh / Black Squideye / White Kicks

Another really simple fit, just a cap, a t-shirt, and a pair of shoes.

The cap gives this outfit major tomboy energy to me, and I really quite enjoy that.

The little bits of red and pink on the otherwise solid white and black of the shoes and shirt actually do a lot of lifting here, providing the whole outfit a disproportionate amount of energy.

5/5. This one is really simple but I really think it has a ton of character.

Pit:

Paintball Mask / Gray College Sweat / Orange Arrows

Another primarily neutral outfit, though this time with a pretty ostentatious piece of headwear.

I actually kind of like the shirt and shoes together, but that's about it. I really feel like the mask clashes with the rest of the outfit here.

There is nothing intrinsically wrong with the mask, of course, but I simply don't think it does anything with the other clothing here.

2/5. It's honestly not all that bad, but it simply doesn't grab me very much. I don't get any sense of personality here, and that's one of the things I really look for in an outfit.

[nanakah]

hello hello, I took the alien stage pill. howdy fellow sufferers

Honestly, my first reaction to basically everything was "awww, they come in sets and are all without exception horribly doomed no matter their specs (loops cool music and vids)"

I'd seen some of VIVINOS' team works without realizing it was the same artist (my favorites being Beloved and Otomeroid) so it was rather shocking to learn of a "series" with a fandom as active/relatively large as Alien Stage without ever actually stumbling upon it before...

Anyways. I like the concept, and Hyuna+Luka in particular, a whole lot. In spite of all the jokes about only yuri and yaoi losing, my spider sense says they'll get their turn of crashing horribly soon and I wanna stay here to witness it burn beautifully, of course.

TL;DR OMG HYULUKA IS SO DELICIOUS

general yapping about all alien stage duos under the cut and some Hyuna/Luka considerations and theories

disclaimer: long, chaotic post ahead - i wrote most of it during revenge bedtime procrastination so I'm kinda just rambling/discussing my general impressions and vibes here instead of formatting it nicely or properly illustrating my points. good luck if you choose to stick around and make yourself comfy

alien stage impressions under read more - also SPOILERS SPOILERS SPOILERS

funny thing - I got into alien stage completely by chance after checking out some related vids to my Love and Deepspace twitter spree and avoiding my responsibilities. Ivan's Black Sorrow made a very strong impression and I loved his eyes, so I kept going deeper down the rabbit role and felt fascinated by the web of dynamics between the characters each time I took in a little more of the plot.

(His eyes are so cool and expressive.....I was already loving everything prior and was excited to continue, but Ivan was definitely the one to sell me on the concept more strongly and eat up the rest.)

It was interesting seeing "love" portrayed under such dire conditions and I kept wondering how come the aliens are so stupid they chose a 1vs1 PVP combat format with their beloved pets instead of the optimal formation of idol units and at least duos versus each other to utilize their feelings of love. Why would they do that?

That first innocent musing made me realize how clever the team behind ALNST is. The whole thing seems to be operating as a metaphor/commentary about how predatory the real idol industry is (the concept of anakt garden really sounds like the average idol trainee camp experience and the bonds they form with their group mates) and how heartless guardian (parental) figures can be in a society that is heavily utilitarian and barely gives agency to either their own children or sentient beings like animals that we keep as pets.

So in that world, the sacrifices of being an idol are literal and humans themselves are "pets" - with all the implications that come with "being dependent on a species that does not properly comprehend them". At times, the way they refer to the fandom of each character even seems to be tongue in cheek as to how "we" too are watching the story for entertainment and making fanbases for each character and reacting like some of the in-universe alien fans.

Therefore, it's no brainer that the answer to my initial question was: aliens/Segyein don't understand how to utilize human bonds and emotions to their maximum efficiency in the first place. They know interaction between humans seems to be important and produces more beautiful songs. However, they probably experience those feelings differently and most of them are likely unable to truly empathize with human pain, ethics or feelings. (And believe me, even some people have a hard time believing other species benifit from socialization, so aliens being that way is understandable). Perhaps the awful acts of the Segyein mutilating their pet human is no different from pulling a butterfly's wings to a human or injecting colored fluid into a flower. The glimpses of their buildings and tv show that they have the same sort of "do they have rights?" feelings and similar moral conflicts to what we have in the real world about species we don't understand fully.

I think it's really challenging to analyze a work attempting to guess future developments when you don't know the creator too well. In spite of looping OTOMEROID I wouldn't say I know VIVINOS and her team deeply as an admirer. But from the overall tone of the videos in her channel, I could pick up on a fascination with "extremes" of emotion and exploring the hypocrisy of society. Human/animal experimentation and materialism/religion/consumerism are topics that come up often. Love is also hardly ever portrayed as a simple or benevolent feeling alone - there's unrequited love, obsession, insanity, many facets of that feeling on the channel. Some works are more straightforward and focus on the visual presentation, others seem to have a deeper story behind it.

The technical quality of the Alien Stage MVs is extremely impressive, I had a blast looking at the patreon storyboards and feeling like "wow, a person actually made this". It seriously got me inspired to feel like drawing more to get out of my own artblock and to pick up on old OCs to show them some love. In the era of AI, this is a joy to get to feel. It all definitely feels like a well-put together labor of love. I'm super weak to things brimming with passion like this, it's contagious!!!!

Now that I've tried my best to make an eloquent opening and act like I'm not at all just a fangirl foaming at the mouth with this intense concept (I keep crying that I wanna see either Aka or Ohkawa try their hand at a death game scenario) and at the sight of a tragic toxic duo with a backstory of a deeply rooted mutual obsession/love and fall out (wiping drool out of the corner of my mouth as we speak), let's talk a little more about the story. In order to make sense out of my ramblings and projections, let me explain my thoughts on the other duos besides my bias first.

Mizi and Sua set the tone to their universe as well as serve as an explanation as to why "idols" work well to represent their conflict and struggle - I'm fresh out of Oshi no Ko here, so this feels equal parts like a comfort zone and everything but comfortable and hellish to go over again. But, to put it briefly, the adoration of someone as an entertainer that you want to support also overlaps with the word reserved for adoring "an image or representation of a god used as an object of worship" - idol.

Humans, stripped of their power and autonomy after arrogantly believing they were superior to everyone else and were the only beings in the vast universe, have been subjugated by other species. Because of the bleak, unforgiving circumstances they were faced with afterwards, the surviving ones were turned into luxury pets and stripped of their freedom. Free will made them children of God before, so people have forgotten all about the "God" who couldn't answer their prayers/save them. But, as Mizi says, the belief in God is innate to human nature. You are more likely live in this world successfuly if you have someone to look up to or a reason to survive.

When God seems so far away and so cruel...what they can do is look to each other as their "Gods". Because a belief in God is ultimately, a cry for salvation and acceptance...."The Bible makes it clear that “God is love” (1 John 4:8). He isn't just loving, but he is the very definition of love."Therefore, all characters are, in some way, looking for salvation and being constantly tested and brutally being forced to show off their humanity through the lens of how love affects them - and not at the privacy of their inner thoughts or anything. All of that in order to portray different aspects of "love", adoration and what it means to be human. To have a belief on the unseen - "what is essential is invisible to the eye".

IT'S ALIEN AMERICAN IDOL MEETS DANGANRONPA. WHOO.

(gOD I wish we could have gotten Luka vs Sua or vs Ivan in some way. That feels like it would be extremely close and entertaining to see. Am I losing my humanity? Why is my keyboard slimy? Am I becoming a Segyein ....?)

Of course, because I fell for all those deliciously doomed themes like the good CLAMP/Akasaka foolish nerd I am, I bought patreon access day one. Although some setting details were unexpected, I was pretty satisfied with my overall initial grasp on most of the characters. If you found me through the tags and didn't already follow me, my disclaimer here so you get to know me is that I easily gravitate to polarizing characters or doomed ships like a curse. There are also certain Themes that follow me like a plague and I could see some of my favorite characters' shadows on the doomed kids I liked right away. Like an itch to spot something more to what is being shown.

Therefore right away, Luka and Hyuna caught my eye big time. (literally, when I watched sweet dream I kept pausing and going - whOA WHO IS THE COOL GIRL WITH THE CIG. Wait wait wait show me more of the boy that looks dead inside overstimulated by the flashing lights!)

I don't really have any pretension to be quoted on anything here or say things verbatim (Patreon says it's fine to produce derivative content based on what's there, but as expected, it's enforced not to directly share it so I can't really go argument-evidence here by presenting it) and have only seen pictures of the artbook secondhand by a friend, so I'll have my fun here making commentary loosely based on extra content and sporadically showing off pretty MV captures.

Anyway.

We're introduced to this universe through the jarring cruelty of ROUND 1, contrasting a harmonic, beautiful, lullaby-like melody with a harsh outcome. Like Mizi, unless we got spoiled beforehand, we don't really know anything about what's about to horrifically transpire. And though she got education, it feels like the teachings about what death or the Alien Stage would be like were horribly sugar coated or distorted to her, as incentive to give their best performances - like sacrificing themselves was a good thing. The extra materials back this up with Mizi's first interview about "My Clematis" - it's like they're told they're simply going back to their "origins" entity (The Grand Ankt) and it's a pretty and peaceful thing. We're shown how bad humans have it in their society and simultaneously get a montage of a cute, healthy, heartwarming relationship between the two girls and a deep "pure" love, as well as feel the weight of Sua's sacrifice and how badly it hurts Mizi. You're told that Sua is her God, her Universe in a Godless world - only to have her ripped away and "God" basically slaughtered for cheap entertainment. Some of the extra materials put it as a certain "mutual love" between Sua and Mizi.

It's interesting how we're shown a stage and don't know what to expect at first - since the girls seem "calm" and happy to express their love, but there's an increasing sense of dread until the finality of Sua's death hits and the pretty, shining girl we see in the flashbacks becomes an empty husk. The MVs seem all to be roughly designed around creating a surprise at the end or recontextualizing something we have seen previously.

I won't discuss Till and Ivan at length at this time, because that would get too long and demands it's own post (I sure as hell rewatched Unknown, Black Sorrow and Cure many times though), but the key part for me here is - they similarly express "love", but through another facet - obsession of a one-sided love and the desire to reach salvation or a reason to endure the world because of that, too. To the point of choosing the chance of love over salvation, expressed by Till letting go of Ivan's hand when they had a chance to escape (not wanting to leave Mizi behind most likely) and Ivan's kiss and decision to strangle Till to give his own life in exchange for his/finally getting to express his "shallow emotions" he perceives as something that won't deeply scar Till (but it does, and it mattered, far more than he could ever have known). It's interesting that although Mizi calls Sua a God, they develop something closer to a balanced, mutual relationship, as much as their lack of understanding of "human relationship" allows - they connect deeply. Ivan, according to the comics, sees himself in Sua, but it's deeply frustrating how he couldn't build the same sort of connection with Till and felt like he could only maintain a bond through violence.

Mizi seems to be the only human who was raised in a "stable home" (her alien seems to actually love her closest to a mother), but that's not enough to protect her from pain - after all, the alien's reasoning was that if Mizi likes singing, she should join. Yolo! Your human baby's life is so short! Sounds like outdoor cat owners to me. Ugh. All other pet humans are going through some flavor of parental abuse, and it all reflects in how they express their emotions and what sort of decisions they tend to take.

Till, in contrast to all that, more closely resembles the definition of looking at Mizi like an oshi/idol as a comfort to run from the pains of his life - he always looks hurt or abused, but Mizi is like medicine that even watching from far away makes him feel "saved" due to nurturing that "first love" that is heavily idealized. It's interesting how his character that is first introduced as somewhat violent or wild because of the smashing guitar and "addict"/drug imagery turns out to be one of the most sensitive.

The cloaked figure of Mizi in Blink Gone seems to resemble a saint or Mary (mother) holding a child in her lap as he takes his last breaths. She rushed into the crowd in a desperate attempt to save or at least comfort him in his predicament. Till's final position even resembles that of being crucified.

All that, however, makes Till unable to see Ivan properly - who is constantly around him and yearning for his attention, protecting and loving him in desperate ways that he doesn't realize until the very last minute. He is also seemingly detaching himself from the "real" world as a very "pure" child (shown in the way he loves with full devotion and his artistic inclinations), which of course, makes Ivan painful to face - who is a grounding entity and a reminder of the real world. The one who touches his wounds, who is "there" and not unreachable like a flower at the top of a mountain. That love between Ivan and Till got expressed in a way that was painful to both, but a very human act of a clashing selfish and selfless-ness.

None of them are built for this. They're trying to survive.

So far, what I've got is...Mizi and Sua set a standard of what is closest to a mutual love that was growing together in a relatively equal and healthy way. Ivan and Till were reworked to avoid overlap with them and are chosen to portray the sense of an immature, obsessive love and clashing emotions. It's interesting to me how much the creators stress the "one-sided" and controlling nature of Ivan for behind the scenes, and I feel like this does not mean that Till couldn't possibly return his feelings - after all, the Actor AU does show great chemistry between them. It's more like, within their living conditions and because of the emotional immaturity of both of them, they literally could not see eye to eye - Till looking at an idol out of reach (Mizi), and Ivan choosing to seek out his attention through violent means that confused Till, thus he was unable to respond to the intensity of what he felt and grow into it.

NOW. TO THE MAIN COURSE THAT IS ROTTING MY BRAIN: HYULUKA.

If we've got all those bases covered so far...where does that leave Hyuna and Luka?

(This is the most Mello/Near-like I've ever seen another ship pull off. My inner 13 yo is screaming. They're both incredibly gorgeous. How is a hetero couple simultaneously so BL and yuri-like in DRAMA AND IMAGERY? CLAMP would be proud...)

You see, there's no official answer about the true nature of their bond yet.

But I have a lot of speculations. It clearly looks like a rotten, strangled-by-the-red-string-of-fate sort bond that is just up my alley. THE MOST FUN IS GETTING TO BABBLE BEFORE GETTING AN ASSERTIVE ANSWER. I'm all for making a fool of myself, so let's get down to it.

To put it simply - I believe Hyuna and Luka's role is expressing the extremes of the setting itself and what "to love" means within it, with a turn for the worse and the tragedy of "not understanding" even if there is love.

How do you conquer an oppressive world in which all odds are against you? Would you overtake it through rebellion or would you strike at it from within?

In a world in which God's teachings have become lost to time and difficult to believe, does love strengthen or weaken you? If it causes pain and destruction, can it still be called love?

I think Hyuna and Luka are standing at opposite sides of those beliefs, and cannot understand each other's mindset.

Seems simple enough to write Luka as a mere villain final boss since he seems to be enjoying himself at the evil death game and Hyuna as the nice rebel who wants to save everyone, right? But it's confirmed Hyuna wasn't really trying to rescue more people like she had an opportune moment to do for Mizi.

The artbook also says something incredibly interesting about what the "Luka Syndrome" mentioned in one of the MVs really means - Luka's prestige as a performer is raising the prestige of pet humans. He also believes "Hyuna would be safe with him" - Why is that?

I think they might actually have similar goals and a similar stubborness in which they believe themselves to be the correct one and the other to be pitiful and foolish. Hyuna is trying to overthrow a system that is well-established and has far more power or influence than them, therefore she needs to resort to drastic measures and flashy means to assert dominance over the alien society.

Luka on the other hand, feels like he is using the system against it and exercising his own humanity while at it. Rather than tackling the incredibly daunting task of being a rebel with guns blazing, Luka became a master of the stage in a way that makes humans gain influence and thus become more valuable.Even if I try to think of it as "he's just trying to survive", that doesn't feel enough - because whenever he is not on stage, Luka looks dead inside already.

Especially in the arts he looks like a younger child or teenager, except for the ones after he seems more consistently approached by Hyuna. It's hard for me to think what moves him is a survival instinct. He is also portrayed like the typical "golden kid" syndrome victim - someone so systematically beaten to satisfy their narcissist guardian figure and submitted to so much pain that they eventually absorb part of that mindset as a way to have agency and autonomy over themselves. It gives the illusion of being successful and thus that the abuse was "effective", but it's like a curse that is difficult to break from.

I think both of them are older for a thematic reason. It feels like it could represent what it feels like, as adults, to no longer be able to hold onto naive or idealistic things about the world or society due to ignorance and having to choose a path to express your ideas and reach your goals through your "work".

Hyuna is guns blazing and "adult pleasures" - singing to an underground stage, trying to scrub off the wounds of her past with alcohol, and it's interesting that her guardian alien is portrayed like an "absent" parent figure - they have an interest in humans, but doesn't care about watching Hyuna when she first was eligible for Alien Stage. I wonder if they even are the one looking for her at all - seems to me it's more of an alien police thing because of her "crimes". Under that seemingly "thick" skin though, it seems clear that Hyuna is deeply affected by Luka still, and the loss of her brother. She deals with her wounds by not really dealing with them at all and guess what - it's a weak point. Her song is uplifting and refreshing, but she clearly demonstrates that closing your eyes to trauma and purely moving forward doesn't make them go away. In that sense, Mizi is a way she is trying to "mentor" someone navigate through loss.

I love outcasts and mildly autistic-coded characters, so I gravitated to Sua, Ivan and Luka right away.

(Extroverted cutie and the doomest doomer of the bunch. As a side note, their character design alone and contrast is genius and gorgeous. I'd expect 90% of the time for Luka to be the designated BL character and hardly do I ever see his archetype paired with the sort of sharp, striking beauty that Hyuna has so I definitely got giddy with them right away. She reminds me a lot of Michiko Malando and Luka reminds me of Near, two characters I love a whole lot and funnily enough have the same mbti types the artbook describes them as - ESTP and INTJ. Ankt garden Luka looks somewhat closer to the AU versions of Luka, so gotta love both his origins and his twisted post-alnst/hyuun woo self)

I believe Hyuna bundles Luka with that trauma of grief and loss, and it's still unclear what their roles are in it and after the fact. While singing all in verses "We only get one life, so I'm living mine for me/'Cause I'm the one from your wildest dreams", Luka's face flashes through Hyuna's mind before even her brothers, like it's something that's always on the back of it and barely suppressed.

See...since VIVINOS loves the "more than meets the eye"/twist concept, something I'm expecting is for Hyuna's feelings not to be as black and white as blaming Luka and actually. It obviously was dysfunctional and isn't that....delicious???

I feel like a one-sided love or obsession wouldn't make sense to repeat as themes, and because of the heavy trauma associated in the backstory, it's not like a "healthy mutual love". To bridge the themes of MiziSua and IvanTill, I think Hyuna and Luka are being told in a way to express love as something that can also destroy instead of save, and their clashing ideologies come from a place of wanting to think "-I'M- right and want to be your god", instead of ever having been able to understand each other properly.

They have a similarly "corrupt" love that has a lot of guilt and regret built into it. Even with something awful as what happened to her brother, it's curious that Hyuna's mind first thinks of Luka in an "enamored" light - the scene looks pretty tender - but that's also attached to the weight of Hyun Woo's death.

I think It's likely that the twist is Hyuna having been the one who hurt her brother, even, considering the dynamic in these comics:

Luka and Hyun Woo compete for Hyuna's attention, and it's to be expected that none of them understand the boundaries and definitions of love too well. Hyuna and Hyun Woo seem to be naive and relatively raised in a decent way, submitted to superiority tests like the rest, but not directly abused. They seem to express their love for each other in a cheerful, healthy way, Hyuna probably because of her closeness to her brother (which is unusual for other pet humans to be able to do) is extremely physical in how she shows affection. She doesn't really reprimand Luka, and that creates an unhealthy dynamic in which Luka plays the victim - in spite of starting things - to enjoy Hyuna's attention. There is a cute comic that looks silly, but encapsulates it all:

Luka is a little shit that wants to be pampered. He knows he is physically weaker - if you come across a rabbit being hurt by a wolf, you wouldn't suspect the rabbit provoked it. So Hyuna constantly seems to take Luka's side regardless of what happened, wanting to have that protector role.

Luka on the other hand, has no reference of what it's like to be "loved". He is systematically abused and treated like an object - therefore, he perceives relationships in terms of "ownership". And I don't think Hyuna truly understands just what she is enabling when she encourages Luka to act the way he does or thinks his neediness is "cute".

Honestly, I think there's strong sexual abuse imagery in Luka's art and the presentation of his stage image as someone taking charge of their objectification. His clothing for stage always shows off his body one way or another and both Hyuna and him have this sensual imagery and approach to others, as if "reclaiming one's own body". The contrast of Luka's blank expression and the red collar indicating a mental breakdown in that artwork above featuring Heperu's shadow approaching him is truly chilling.

That boy has no reference of what a familial bond or love is like. And both his introspective nature and abuse seem to make it even worse for him to connect with his peers- in the artbook his only relationships listed are Hyuna and Mizi, in very negative ways. He is also said to have retreated deeper into his own world, because "no one can understand him". Again, checks out with the imagery of "gifted son" that is treated like a narcissistic parent's doll and that becomes desensitized to many things over time.

His alien guardian Heperu even looks vaguely phallic and Luka has body language of "trying to disappear" or soothing himself when not up the stage - hugging knees, looking smaller, sucking on sleeves, stimming with toys (rubik's cube). The scars on his chest seem related to the abuse of submitting him to pain to overcome fear and I theorize the scars on the side may have been for plastic surgery like abdominoplasty or even possibly removing ribs. Normally that would be done from the back, but hey - alien science, and he already had "tainted" scarred skin on the front, so it would make sense to try preserving his back. His waist is drawn really really thin. It's also mentioned that he had a strict diet even though he is a big eater - that is, Heperu is deeply violating his agency in accordance with Lookism.

Luka has all the makings of a really tragic character and reminds me of Kamiki Hikaru's construction in Oshi no Ko. A victim turned abuser in some ways, as a way to seek autonomy, self expression and living for their ideals and love, no matter how twisted it has become.

There's a comic that has a "flashback" of anakt garden and Hyuna being asked by Luka if she likes to sing. The POV of Hyuna's face looks as soft as Luka's does from hers. She tells him that they don't have freedom for anything else, but when she is up at the stage, it's like her life is "her own", so she likes it. The image of Luka singing as an adult suggests that even now, those are the words he pictures and that is the image of Hyuna that is alive in his mind.

In a way, both of them are deeply attached to the past, and while Hyuna wants to shut it down completely and regrets it having happened, Luka's feelings are twisted.

We don't know much about the kiss. Considering the "sucking on forehead" comics, I get the feeling Hyuna was startled by the sudden escalation from Luka acting as a passive, cute pet and jumping her with so much intensity, but may not necessarily have pushed him away. The following fight could either have happened because Hyuna became withdrawn as a result of suddenly becoming aware of the effect she was having on Luka and what their feelings for each other were (since previously, she might not have been able to tell the difference between being all over her brother and all over Luka) /or/ the scenario played out like the forehead sucking. She didn't dislike it, but Luka became insistent or they got caught in a way that Hyuun Woo had no context for, thus assuming Luka was forcing her.

And there is a third option too that now I think about it, seems the /most/ likely: the growing proximity to Hyuna made Luka's feelings of "wanting ownership and exclusivity" even deeper because of love and lust, as simply being assured he is "loved" doesn't seem to be enough for Luka. It could be that Hyuna in fact disliked his attempt of kissing her and became more distant to him. Thus, he orchestrated for Hyuna to take his side once again for validation in a reckless way - but the results were "better than he thought" when it resulted in Hyuun Woo's death. Because, that is a price so heavy that it feels like "wow, you actually chose me".

This scene is super interesting, I love Luka's expression. It's joyful in a "perverse" way. He was successful in trapping his beloved Hyuna. And it seems that the emotion is so intense, like he is finally free from the mask of pitiful wounded animal with no agency over himself that the sheer ecstasy might have caused a seizure or heart attack, hence his eyes looking glassy afterwards and his fingers finally turning the blue/purple hue we see on his older design.

Skimming through the patreon posts, I was pleasantly surprised to realize my gut feeling about Ivan and Luka having a similar core wasn't wrong. Sua in comparison is the scenario of someone who doesn't go off to the deep end as the two of them. It's often stressed that the team was worried about establishing Luka and Ivan as distinguishable - their personalities are similar, but their masks are different. Ivan presents himself as the "big bro", while actually being a boy struggling with properly expressing emotions that went as far as practicing smiles and expresions at the lake. Whereas Luka is like a porcelain doll and passive - austere, even...but what about his real self?

We're cleverly prevented from seeing an introductory MV for Luka, as round 4 doesn't happen. And for the subsequent videos, Luka shows himself partially by not disclosing his POV, but showing important sides of himself - the urge to control and the attempts to "become whatever is desired of him". A blank slate.

In a sense, that's implying to me Ivan and Luka's stage presence is an expression of their "inner selves", where their feelings and thoughts become bare. Ivan does so by casting aside his big bro warmth and stepping in as the image of a serious-faced, strongly devoted man that is coming apart at the seams with the weight of his immaturity, sadness, love and obsession.

Luka's stage presence is a distant cry from his image of passiveness and class behind the scenes. On stage, he is a seasoned performer and a calculating prince that enjoys pulling the strings to reach the ideal performance as seen in his inner world. He cunningly displays a different expression between the audience and his partners to achieve the ideal results. Luka acts like both a director and an actor while performing, in order to construct his vision - He's bold, confident and invades people's personal spaces.

(What a condescending little shit. I love him. His expression seems to be saying something like..."Done already? Hmph. I expected more of you. You need to do something for me to do my part and shine, too."

A point I theorize about Ruler of My Heart - Hyuna says in the artbook, I think, that Mizi reminds her of herself. Luka would be able to pick up on that also, especially since Mizi had just been broken by the loss of the one she loved most and formerly had that spark of "hope and dreaming high" in her eyes. Luka may have chosen the song specifically to have Mizi recreate the "role of Hyuna" envisioned for it - as in, he never expected her to be obedient at all. He was riling her up to feel what Hyuna might have responded like to this song. But the Hyuna in his idealization is probably "blazing, absolute and strong" - instead of shutting down and giving up singing. Mizi lets herself get intimidated by his provocation into silence, but when she loses it to punch him in the face with no regard for the consequences - like Hyuna surely would do - is when he finally smirks. It's also a mockery of letting emotions take her over, securing his win and further reinforcing he is "in the right". )

Another interesting tidbit is that Luka's personality isn't of the ethereal "pitiful-but-nice" character, but rather something that "fits VIVINOS taste". He is also compared frequently to Ivan in personality/mindset, who is described as a "bad boy" with a possessive/manipulative streak. If the sides of Ivan we get to see that related to Till are fairly tame and the team worries so much about contrast, that seems to imply that Luka embraces the more extreme parts left out of Ivan.

Even more interesting than that is the core of Luka's character inspiration - "the little prince", which I assume most people have read before. It's a children's book about an adult meeting a little prince from space and basically sharing life lessons.

If we look a little beyond the "cute blond kid"/moon motif...the most striking aspect about the Little Prince is probably the idea of the rose and the fox. The immature prince is taught the concept of love and responsibility by a wild fox - that to tame someone is to make them unique, and it's the time spent nurturing that love that makes it precious. The prince had been frustrated by a Rose he thought he loved, but grew annoyed by because he could not understand her. He also was confused upon realizing there were many roses in the universe, but his was too selfish and flawed. So is she not as unique as he thought? He starts missing the rose, and learns that there IS a difference - none of the roses are "his" or sound like "his" - because if they have tamed each other, going forward, he isn't just any little boy to his rose anymore - he is "the" boy, and she is "the" rose, unique in the universe.

This feels extremely relevant to a character presented as a "product" of gene editing and, basically, being created in a lab. The implication to me is that there may be many other "Luka"-like humans - the vast array of congenital diseases he manifests such as heart disease, Raynaud syndrome, asthma and chronic migraine all make him sound like their universe's equivalent of a white pug dog with dubious origins to boot.

What makes that test tube baby, raised by a ruthless alien that doesn't care about him as more than a way to vicariously live a life of success and luxury, unique in that case?

Love.

And my take is that, the fox and rose to his little prince are the siblings Hyun Woo and Hyuna.

(I'm suddenly reminded of the Vanitas no Carte Louis-Domi-Noé trio. Why do those never end well?)

IMO the rift created between Hyuna's brother and Luka wasn't necessarily there from the start. Before getting more strongly attached or opening up to Hyuna, Luka looks extremely detached. Hyuna's brother looked like the picture of excitement and youth, so it feels like he could have reached out to the quiet boy first and Hyuna tagged along. The settings mention something along the lines of Hyuna not quite being the origin of the "dreamer" outlook, but being inspired by her brother, and I can picture it.

Hyuna's MV All in and her relationship with Mizi painted to me the picture of a girl that is naturally attractive - her drive and sunny disposition are simply dazzling. But, underneath, there seems to be "something" doesn't it? I think Hyuna's charm comes from a mix of strength and vulnerability. She seems like the type of person to cope with humor and being flirty in order to lift people's moods and surprise them, but Hyuna herself can have quite heavy and serious feelings. The somber look suits her, and it's overall impressive that she didn't completely break because of her brother. It's like her innate talent for performing draws people to her, but at the same time she can sustain an illusion of "closeness", her true worries and wounds are kept deep inside and she doesn't let others truly see into her.

So.

What's shown in Blink Gone to me is that Luka's not merely surviving a death game, he is enjoying the show and trying to feel alive. To someone like him that probably already feels dead inside all the time and was "abandoned" by Hyuna, there is nothing much to look forward to. We don't know what happened between Hyuun Woo's death and their first alien stage run (quite a lot, since Hyuna even lost a leg) ot the timing of their relationship fall out. Given their memories and image of eachother, it does seem to be implied they were already going separate ways right after the incident.

It's likely that what connects Luka to Hyuna's memory the most is the feeling of performing itself - the one time he gets to be free. Luka acts like he is superior to the other pet humans for having "figured out" the system and feeding into it, and looks down on them for having no control over their emotions. But does he really have total control over his own?

In spite of all the abuse he embraced as his own will or believing he could truly get any power by playing the game according to its rules and "overcoming fear", someone as unpredictable and impulsive as Till is the natural enemy of someone like Luka. He had the upper hand as long as it stayed within his plan, but Till suddenly going as far as going back to the green light indicator was worrisome. Luka's Stamina is actually rather crappy, so if Till did decide to go all out, he might have been cooked.

I think, to Luka, it's probably about more than keeping himself alive. And Till flipping the game then would have made him waste his life on a performance that was supposed to be easy -and- it must be annoying that Till strayed off-script. My hypothesis is that he wants to reach out to Hyuna, still - either by increasing the influence of humans to shift the world closer to the one she envisioned, or by putting his life in the line at the stage as many times as possible to feel the "weight" of her presence as if she still were by his side or to grow so famous that she cannot ignore or escape him.

Deliciously hypocritical of him to look down on others so much, when Hyuna's unannounced presence shook him so badly he turned his back to the stage and stared at her with an expression we'd never seen before.

My take is that her walking in like this is seriously the worst scenario to him. Luka expresses in the artbook that he pities Hyuna and that her safety would have been guaranteed with him, so - because of his influence - I think he might actually have gone to the Alien Stage again to secure his power status AND request to keep Hyuna out of it. A condescending sort of domestication we know she would hate, but would keep her safe.

But see. Even if she wasn't under his care, being out there causing a ruckus is one thing - she's alive and kicking, not really in the slaughterhouse. He can live with that. So, he sings to his heart's content. And...

His sneering that people are suuuch rookies at controlling their emotions...

Sooo weak to let their emotions and regrets dominate them and make them lose sight of the stage, compared to his Super Competent self that can overcome fear and control his own heart rate...

All came back to bite him in the ass, like an idiot.

All other characters were pitted against their worst case nightmare scenario, and I doubt the Prince will be an exception. I really don't think his type of obsessive is wanting to be superior to or beat Hyuna at performing either, even if it's his guardian's mindset (it seems Heperu feels inferior to Hyuna's guardian and adopted Luka simply as a means of beating him - so seems very possible he will push for having the two face off and prove Luka's "superiority").

No matter what he does now, it's either Hyuna against Mizi at the risk of death or Hyuna against him. Hyuna's a wanted criminal - there is absolutely no talking a way out of that one. Not only that, Hyuna's bleeding from her wound already. Luka facing against Hyuna as the second time champion would mean being forced to choose - keep rulling the stage, or chose the one who was his guiding light in the first place?

The imagery from the sweet dream opening (as well as Luka having covered that song) is "release" - Luka dying at Hyuna's hand even if it's not something she can truly do with pleasure, no matter how much she copes with her past wounds by hating him. I wonder if it's a red herring or if it will play out, I particularly want whatever will allow to explore their character, feelings and motivation the deepest.

I don't think Hyuna wandered onto the stage for his sake - it seems like it's for Mizi, who is completely frozen. Hyuna probably has up until now coped with hating Luka because he represented everything she was rebelling against - the "system" itself. A nasty cog in the engine of the aliens who, even if not directly, ultimately were the cause of the entire context that stripped her away of her freedom and lead to her precious brother's death.

However...

My guess to what's happening here isn't "wow your outfit is so slutty" or "you've grown". It's more like...Luka suddenly looks too human.

He wasn't supposed to.

...Phew. That's all for now. The ADHD gets strong when I'm talking about something that tickles my brain, so I hope that wasn't too messy/unintelligible to follow with the back and forth jumping timelines or repeating points of interest I did.

Well! I really, really wish there was more for me to keep going, but for now I'll live with overthinking with what we have. I might do separate analysis/speculation for the MVs if I have a deadline I'm procrastinating on come up the time.

Bottom line is, I think all those characters are very interesting, but Hyuluka are the ones I'm rotating like a rotisserie chicken in my mind. Plz hurt me more VIVINOS team and thanks for the good fucking food

[anxious-witch]

I would like to talk about Edwin, Charles and asexuality for a moment and why I personally like hcing Charles under the ace umbrella rather than Edwin.

To preface, this is obviously just my opinion, and if you like ace Edwin, relate to him or hc him as such, totally valid! I am just basing this off some of the narrative purpose that Edwin's sexuality plays in, and how in parallel, Charles' seems to fit into the flavor of ace-spec I am more familiar with.

Splitting this into two part bc again, I cannot seem to stop talking. This part talks about why I don't see Edwin as ace, part two will talk about why I can see Charles being ace/on the ace spectrum.

Edit: here's part two

Anyway! To the actual reasoning.

Let's start with Edwin. First thing we need to remember about Edwin is that he was born and raised in 1900s, and so that some of his behavior, habits and the way he talks about sexuality can't be judged by modern standards. Plus ofc, added layer of trauma of decades of hell.

So his dislike for being touched, his inital reaction to being flirted with etc, can all be contributed to that, imo.

But let's look at why I think it's important for his character specifically to experience sexual attraction.

Given his upbringing, and growing up with what was likely lots and lots of shame and repression around being a gay man, Edwin seems to completely block out any sort of feelings or wants he might have around other men. (Which is why he didn't realize he was in Charles until he was forced into situations) With his added trauma from hell, in which we know he, at least for a time, believe he deserved it because of being gay, I think it makes perfect sense he didn't wanna acknowledge any of it.

The first hurdle in his path was, of course, the Cat King. Now, you can love him, you can hate him, but I hope we can all agree that what Edwin experiences around him is sexual attraction. I touched upon that in my analysis of their interactions and how symbolic it is for Edwin's sexuality so I will try to keep this short. The way Edwin gasps and looks at the Cat King up and down when he transforms into just a coat and underwear, the way he recalls their meeting with the focus on the wink, on the CT's abs, the way he stares at his lips at their second meeting in ep 4. I don't think Edwin has feelings for the CT, except for maybe last ep where we can see a crush forming, but before that? That looks to me like pure sexual attraction.

It doesn't translate just to the Cat King either! We see it when CT transforms into Charles. Edwin is stunned, yes, but I think him pulling away and saying "Stop it!" Very sharply when he realizes it's a game is very telling. Sure, having romantic feelings for your best friend isn't easy to accept, but to realize you want him, in a sexual way, for even a few seconds? That must have been devastating for Edwin, due to him thinking of such desires as shameful.

Which I think is supported again when Edwin is caught by Lust in Hell, falling back into his shame, and Charles pulls him out. Because experiencing lust towards another man isn't a sin, but Edwin thinking it is is what briefly gets him stuck.

I am also not very keen on making Edwin ace due to the implication of "oh, Charles could pull him out of Lust because Edwin's love for him is pure and not lustful" because well. Being gay is no more pure or no more sinful than being straight. Gay people can have sex and it's not more morally wrong than a gay-ace couple that does not. With the rise of purity culture I feel a bit...uncomfortable with the implication of Edwin only coming to terms with his sexualityis due to the fact he only likes men romantically and there is no "sinful' sexual part. I think it kind of...defeats the purpose of his arc, especially the part where he meets the Cat King in the alley and the Cat King holds no power over him due to the fact Edwin is finally at peace with wanting him. Because that's okay. He can be attracted to him, be fine with it and not let it go any further(for now at least, hence idk what they are gonna do with s2).

So yeah. Again, not faulting anyone for any hcs or fics, if you like Edwin as ace, totally do your thing, I just feel like Charles is right there, with much more interesting dynamic when we apply ace lenses to him. But more about that in part 2