#we needed something called character growth

[lxmelle]

Just some thoughts on 270

Yes the end is near.

Yes I almost threw up when I saw that unmistakable hairstyle...

Yes I was a bit disappointed that there were no visible satosugu crumbs - or are there? More on this later... and the it overall just felt a little bit 😔 empty 😪

Nevertheless, I want to just blab about a few things.

First, is it Geto/Kenjaku?

If we think about how Yuta’s copy CT works, Rika would need to consume a viable part of the sorcerer. The only part of Kenny left was his whole brain. He was the brain. The rest is Geto. We have not seen any evidence of Yuta having CSM, so it can be assumed that Yuta did not have Rika eat any part of Geto. Otherwise, it’s be Geto’s CT and not Kenjaku’s body-hopping technique.

Imho: The person with Takaba is not likely to be either Kenny or Geto. Geto cannot function without a brain, there was none “spare” either, so the theory of a spirit entering the body is going to make it alive again - no, it doesn’t. There is no other living sorcerer who can do that - Ui Ui maxed it out with the number of times and there is no other person to swap with. Just. Not. Possible.

And Kenny was seen to have told Mimiko and Nanako that he took Geto’s brains out to inhabit it.

So. My conclusion is that Gege is baiting. Just as he did with the “we have to help Yuta!” And the rude yelling that got so many of us wondering just who would speak to roughly to Yuta and what warranted it. We were all asking: who calls Yuta “Yuta” and not “Okkutsu-senpai” etc. I even thought it was Shoko, assuming that Maki was in the same hallway as the others, but the main culprit was of course the most obvious, Maki herself.

And that baiting thing with the clock theory about 2:21 pm linking with chapter 221 of Gojo’s unsealing - I theorised it’s about having presence (like how spiritualists, and in Shinto, believe that spirit is all around us) despite being dead and his soul with Geto.

And goodness know what other theories there are out there about time and Gojo revival. I’ve said before that I don’t buy into it, but it is interesting.

So is it Geto? Kenjaku? I 80% think not but... yeah, I am worried. To be completely transparent, I’m so scared that it is.

Because I’m in the camp of: please please Gege, please please please let Gojo and Geto be at peace in their eternal afterlife until they’re ready to be reborn and let them find each other over and over and over again.

So rationally, I doubt it is. But I’m worried. I’m worried for reasons like: why aren’t the bodies and resting places of Gojo & Geto still not mentioned?

Next thing to I have some thoughts on are about Itafushi. They’re really good friends and I think it’s also just one of those things Gege is doing because it’s JUMP and he doesn’t want to just pretend the Hana -> Megumi thing is forgotten. It also shows some character growth.

So overall, I’m rather neutral about the Megumi + Hana thing. They’re still kids, and Yuji + Megumi are compatible but they’re also not quite Satosugu, so their relationship will be undeniably different. Friends or otherwise.

It’s nice to see the Megumi is taking initiative and finding novel ways to make new meaning & connections. I wouldn’t read too deeply into it, especially since Hana obviously read too deeply into it and got it all wrong.

I will say that it feels cliche maybe. Again it’s maybe a JUMP serialisation thing shonen mangakas do, since a big portion of the fanbase are young boys too. Gege can’t be doing too much for lgbtq+ too obviously after all.

So it leaves me feeling it is a little reminiscent of the Sasuke and Sakura pairing in Naruto - as if it could become something seemingly out of convenience/settling/making do, but what do I know? Sometimes relationships in life are like that. I’d rather marry my best friend, but you know... different strokes for different folks. As they say.

Now it wouldn’t be me if I didn’t find a way to make it about satosugu. I’m imagining collective groans from people who may be reading this... so please skip if you’re bored of me now, lol. Or read on if you like to be in satosugu delulu brainrot like me.

One of the satosugu-related takeaways from this recent chapter is that it seems to reduce the possibility of interpreting Gojo not allowing Shoko to process Geto’s body as being out of consideration for her.

Her saying that the idiot should have let her process Geto’s body pretty much says Gojo took matters into his own hands. Not only was it protocol… but she also personally thought it would be a privilege. But Gojo did not let her.

We ofc don’t know the details.

So it leaves us with: He did it for his own reasons, or reasons at least relating to Geto. Kenjaku thought it was out of consideration. And Kenjaku is not a reliable narrator, nor was Geto... who tended to think he didn’t matter.

You know, as a person who can quietly just swallow vomit and shit rags without complaint. As a person who could practically transform the filth, negativity, evil, and darkness of the world into power that he could use for good - he was vessel of sacrifice.

Anyway, I digress.

It seems to indicate that Gojo kept his body to himself ... for his own reasons, breaking protocol.

And referring back to 270 again, for Shoko to talk about the afterlife right after preparing the body -> cremation is strange. Does preparing the body and cremating it have anything to do with the afterlife? 🤔 so somehow, prepare body -> cremate -> mourn/afterlife?

Interesting in that Gege is giving us yet another example of how everyone has a different reality / belief. If we believe what we saw in Gojo’s death, then there is one and Shoko will be proven wrong when her time comes like how Gojo was wrong about dying alone.

And it is also interesting in the sense that it’s familiar…

Something about how she said prior to Gojo’s unsealing, about “I couldn’t love either of you like you loved each other, but I was there too.” - am I reading too deeply? Probably. But it’s there for me to read.

Shoko prepared Tsumiki for cremation. She was made her beautiful for the afterlife - even if she was to be cremated, there was something about giving her something (dignity?) before she turned to ash. And those left behind can send them off into the afterlife feeling they did their best.

I think you’d need a certain level of trust for someone to hand your beloved over. Or at least feel like they would mourn the departed like you would. Or faith that your beloved would be happy with entrusting you with that decision. In some cultures, the family wash and swathe their dead in cloth with their own hands where possible.

So Shoko. Shoko could do it for Geto, for Gojo. She was there. She was willing. But. It was almost as if saying that Gojo 1. could not allow someone else to prepare Geto’s body, and neither did he seem to have mourned because 2. Geto was not cremated to be sent into the afterlife. As if he didn’t trust anyone. As if he could not let go.

Again, Rika kept Yuta’s body “alive” too. Parallels are paralleling.

I don’t know how Geto regenerated or if Kenny was responsible for it. Or if Gojo somehow did. But those are just unnecessary details at this point.

And again, Shoko was there but she could not be like what Gojo was to Geto and what Geto was to Gojo.

How complicated.

I’m reminded of that scene where he says to ichiji and Shoko: “There are just 3 of us remaining huh.”

In agreement to Shoko acknowledging that Geto’s body needed retrieving from Kenjaku, it was quite a pregnant pause from Gojo before he goes, “………yeah.”

He seemed surprised Shoko brought it up and decided to just gloss over it.

To me, it collectively implies that Gojo doesn’t let Geto be anyone else’s but his.

His friendship was his one and only. His loneliness was his. His dreams were his. His love was his. His life was his. His body was... his. And his soul was his too. As was his satisfaction.

I think Gege wants us to understand something here. By what he is showing and not showing us.

If I think about the exclusivity that they shared... the whole, “we are the strongest (together)” and “it wouldn’t be bad to be killed by you” or even “I’m jealous but if you were satisfied I’m glad for you.” and then “if you were there to pat me on the back I’d be satisfied.”

It’s a lot like... only YOU can be the one. And therefore I think Gojo kept Geto all to himself. Maybe thinking Geto would only want HIM to touch his body.

It was his exclusive right. And that was mutually shared... because Geto wasn’t really pleased with Gojo getting satisfaction from elsewhere (lol, you know, the “jealous” 妬けるね that got the fandom in a frenzy).

I’ve mentioned it in another post... link: https://www.tumblr.com/lxmelle/758015943938113536/i-love-the-idea-of-mutuality-that-is-deeply-rooted I really do like the idea of Gojo and Geto just teaching each other things. Like selfishness and love. Binding each other to the other. Selfishness and selflessness as part of being human.

Was this an act out of the side of Gojo that was “a little selfish, a little inhuman but a little too human”, and he wanted to keep Geto all to himself? Despite not giving his best friend a proper burial?

When I think about how he normally did what Geto approved of (you can dispute this if you wish) and I think back to how he might’ve really given Geto’s body back to his family- but what we saw in the manga seemed like they didn’t have much involvement either. Surely they’d have wanted Geto cremated?

So it leaves me with the idea that it was Gojo acting out his secret feelings.

Just Gege and how he shields Gojo’s privacy. Secret words. Secret thoughts. You know. Gege being Gege letting Gojo do Gojo things.

I think we might need to accept that Gojo and Geto just have this exclusive thing we aren’t privy to.

That’s all for now. Abrupt ending 🫡

Thanks for reading my rambling if you made it this far 🫶

Feel free to share your thoughts/comments/criticisms 😄

[mrdogface]

So I finished Birds of Prey (1996 - 2009).

Highs:

known unrepentant homophobe Chuck Dixon accidentally wrote a pretty incredible bi sapphic story during his tenure on Birds of Prey, although much of the queering does come from the artists working on the books. We all know the “call me Barbara” moment – apparently, after the audience reaction to that, Dixon started leaving notes for artists like “be careful and make sure the audience doesn’t misinterpret this scene” lol. 

imo, the realization of Helena Bertinelli’s arc happens in the Birds of Prey. She is finally removed from an environment where she needs and is actively craving Batman’s approval, and she ends up thriving, infiltrating the mob and earning the “good work” from Bruce. Personally, I would’ve preferred if her character moved completely away from Bruce’s opinions of her, and it kind of does, but Gail SImone does close that arc off by giving it to her. 

Gail Simone uses the series as a who’s who of women in DC, showcasing a number of minor and often underrated women, from returning classic characters like Ice to giving Zinda Blake / Lady Blackhawk a second chance at comics relevance (Lady Blackhawk’s best story in the Birds of Prey, imo, happens under Tony Bedard, concluding the character’s arc from her 1950s roots). 

Infinity, introduced very late in Bedard’s time on the team, is a severely underrated nonstarter superhero and it is criminal she never went anywhere. Weird ambiguously Australian ghost girl? Hello??

Barbara as a character who learns to accept her disability. A lot of people, including Dixon and Simone, tend to point out that Barbara learns to be a superhero in spite of her disability, but that’s not the interesting part imo. I think the more interesting story here is that they almost accidentally cobbled together a very genuine character arc of Barbara initially being insecure and doubtful that she’ll be perceived as an equal, as romantically desirable, as a real leader in the superhero world, all this stuff, due to the chair. What we end up seeing is her growth into someone who realizes she’s accepted within the bubble of people who are relevant to her, and that the bigotry of people who aren’t can be made irrelevant simply by building one’s life without them. Her disability isn’t written as saccharine inspiration porn (I think it actually veers too far in the other direction at times; at its worst, it’s a point of grimdark melodrama lol) and it isn’t something she “overcomes” in the classic superhero sense of getting a magical wheelchair or psychic powers, and imo in the superhero genre that’s rare and valuable. The execution isn’t perfect but for me it’s very close. 

Lows:

Chuck Dixon makes Barbara and Power Girl do an accidental war crime lmao. dw, both DC editorial and the fanbase ignore this and the less said about it the better.

Dixon really likes James Bond, Indiana Jones (surprising because Indie keeps beating up his friends) and other travel-adventure stories, so throughout his run Black Canary keeps ending up in exotic locations… and judging the people there, before doing some insane “World Policing.” The racism is uhhhhhhh

Simone ties the Birds into the wider DC universe and it does, frustratingly, hit a point where you need to be either really up-to-date with other books or cracking open google to know who a lot of characters even are. This is kind of just how DC works in the mid-2000s, frustratingly. She’s also forced to work with a lot of off-screen deaths, like Ted Kord’s death should be an enormous thing for Barbara, but we have deadlines to keep and we can’t be certain people have been keeping up with Jaime Reyes, so gogogogo

Misfit and Black Alice. They never worked for me. I hate Misfit’s whole archetype of zany comics fan who acquires powers. Making her Jason Todd-adjacent by giving her the sad homeless backstory did not sell me on her and felt like a cheap attempt to make a nonstarter character function. Black Alice’s whole thing devolves into a “stay on your meds, emo kids” PSA. Just very clumsy 30-somethings-writing-teens material. 

the last arc, set in DC Silicon Valley, kind of sucks. The Calculator isn’t an interesting villain to me. The chemistry between characters after Dinah leaves never feels right. 

it all ends with Barbara believing she's lost her edge, writing a signed note, peacing out, and dumping her adopted homeless kid friend on Helena after getting her ass kicked by the Joker. The last page: Ganthet lamenting that she's in a wheelchair, "to be continued in Oracle: The Cure." oy.

[kariachi]

Sorry-not-sorry I'm back on my normal 'Kevin and Argit were so small' bullshittery.

Because they fucking were. Kevin was twelve when Servantis tossed everybody, and Argit couldn't have been far off. They were middle school aged. 'Puberty would be starting about now if we weren't wandering the Null Void and therefor likely not eating near enough' aged.

A pair of children, with minimal education, no paperwork, no homes, no guardians. Wandering the Null Void and then the Milky Way, on their own. One a prime target for the slave trade, both prime targets for adults looking to take advantage of them (*coughcoughOttocoughcough*). With only as much security as they could provide themselves and each other. Only able to rely on themselves for the basic necessities of life.

And then this show has the audacity to try to tell me that they turned to crime due to poor morality. That they're money focused because they're just naturally greedy. That they don't trust people and look out for themselves because they're bad people that either will always be bad people or will only improve because of the power of Tennysons.

What options were there for them? What jobs are there in the Null Void? What jobs are there in the galaxy that'll hire barely-teens, if even that, with no paperwork or educations, that wouldn't ruin them as badly and pay worse than the crime they already had experience with? Will keep them fed and clothed and sheltered? When one of them already has a criminal record, for violent crimes at that? When there's nobody there to stop even the 'good' adults from taking advantage of them?

The show will sit there and tell you that Kevin's violent crimes were the result of a rough childhood, but he and Argit's non-violent ones? Totally on them, no excuse, wholly a matter of greed and not giving a shit about other people. Fucking bullshit. This is a pair of kids who had to grow up way too fast, up against an existence that saw at least one of them as easy profit, with nothing but themselves and each other, and no opportunities. They're a pair of traumatized kids who grabbed the opportunities available to them with both hands and were molded by the problems they faced.

Of course they're money-focused, unlike the Tennysons they don't and haven't had anybody making sure they had enough to get by. They've had to support themselves and live with the constant worry that something is going to go pear-shaped and they'll have nothing.

They spent years with anybody and everybody being a potential threat (even between the two of them, Argit's noting that Kevin's snapping while he worked for the Rooters was the worst he'd seen 'before or since' makes it quite clear he's seen him on and passed the edge at least as much if not more than we have), of course they're going to be slow to trust, quick to toss people aside, and unwilling to help their enemies without some sort of payout, they've been burned before.

Just- Damnit these two come from some shitty fucking situations, the effects they had on them are obvious if you bother to fucking look, and they both deserved better than the series just going "oh yeah they're assholes what do you expect they're criminals" and moving the fuck on. Like, for fuck's sake at least acknowledge that they're like this because life was a fucking lead pipe to the teeth to them! We know Kevin's situation was shit even before they met, we got to see it, but even if Argit had a perfectly good life beforehand (unlikely) the earliest we see him is being held captive for illegal experimentation purposes by law enforcement! These two have been through shit! At least acknowledge it!

Fuck, they could've replaced Color of Monkey with that, hitting on the differences between how Kevin and Argit adapted to their circumstances, give us upfront the Tennysons being a safety net that let Kevin heal (rather than just 'oh the Tennysons taught him morals because they're the Good People') while Argit's issues and lack of security kept him stagnant. It would go better with what we see of him over the course of OV leading up to the Rooters arc, and what we're shown in the Rooters arc. Give us him still being far from great or on the up-and-up but improving with the stability that comes with his 'hero' status, a repairing relationship with Kevin after that arc, and a flourishing, above-board business. Rather than backpedaling on any good the writers had thrown at him like they'd realized they were coming up against a cliff.

Shit that makes you want to get the writers by the shoulders and shake them mercilessly.

[asidian]

One thing I haven't seen talked about is Crystal's character arc, and specifically the way the timing of it interacts with Charles' arc. They stumble over each other in the worst possible way en route to their respective character growth, and from a narrative perspective, it's absolutely genius.

I'm going to preface all this by saying: none of this is a criticism of Crystal. Part of what makes her such a dynamic, refreshing character is that you don't get to see women in fiction written the way she's been written. You don't get to see women with her flaws that aren't throw-away mean girls or villains. You especially don't get to see women with her traits who learn and grow and become better people. So yeah, I'm going to talk about Crystal's character flaws. No, this isn't Crystal hate. We love our girl in this house. Okay? Okay. Let's start.

Crystal's character arc, at its heart, is all about her learning to be a better person because she has good influences that love and support her for the first time.

When the show starts, Crystal is not a nice person. She's abrasive in a way that's specifically designed to push people away. She's used to getting her own way, and it shows. She's used to having no meaningful connections with anyone, and it shows. She's breathtakingly selfish, in the very literal sense of the definition. She is focused on her self. Her problems are front and center to her; everything is about what she needs, and what she wants, and how she's struggling.

Jenny calls her out very early on. In episode one, Crystal is complaining about the boys, and Jenny, for all her cynicism, strikes right at the heart of the problem. She tells Crystal, "Everybody is always thinking about themselves, all the time." People only care about their own problems. And she says, correctly, that that's what Crystal is doing, too.

This moment is a revelation for Crystal. For the first time, she considers what her behavior looks like from another person's perspective. As she says, she gets mad at herself over it, and that awareness allows her to do something selfless for the first time in the series. She takes a step back and insists that instead of focusing on her problems, they go to help a little girl. It's a big moment for her.

But importantly, she's not done growing as a character here. She's only just getting started.

On my first watch through, I didn't realize how often, over the next few episodes, Crystal redirects things to her problems during conversation, but it's quite a lot. She's still focused on herself – selfish, in that most literal definition of the word. The issues most important to her are her issues. She's starting to learn to think about other people, but she's not there yet. The process is still underway.

Which brings us to Charles.

Charles' arc is a different sort of self-reflection. He's terrified that he's a bad person the way his father was and the way the boys that killed him were.

During the course of the show, he gets systematically stripped of his confidence and made to feel helpless, and just like Crystal needs outside influences to help her reach a more stable place, Charles does, too. He desperately needs reassurance that he isn't everything he's afraid he is.

But my goodness, the timing in their arcs is such a trainwreck when you put them together, and it is brilliant.

Let's start with the Devlin House.

Crystal has some amazing character growth here. She displays genuine concern about Charles, makes an attempt at comforting him, and learns to work with Edwin even though she still doesn't particularly like him at this point.

Charles, meanwhile, is beginning to fall apart. He's just had the worst night of his afterlife. He's been viscerally reminded of how helpless he is. He couldn't stop the Devlins from being killed over and over, just like he couldn't stop his own father's abuse. He messed up his attempted rescue so badly that he was completely out of commission until the case was finished. He managed to help not one single thing. He made no impact at all. He couldn't help those girls any more than he was able to help himself, while he was still alive.

So they get back to the butcher shop, and what do we see? Monty immediately coopts Edwin. Niko doesn't know what's happened because she wasn't there and Charles has been all fake smiles with her. And Crystal goes off with Niko, leaving Charles to flounder on his own in the wake of everything. She's still learning how to support other people. She isn't there yet, and it's extremely on display in this moment.

Then we get the lighthouse episode, and they both get put through the wringer here. Crystal gets her hopes and expectations jerked around by the Night Nurse in the very worst way, and Charles gets hit with a whole pile full of trauma. All that helplessness wells to the forefront again. Combined with being forced to relive some of his worst memories and the desperation to keep Edwin safe from hell, Charles lets himself act on his anger for once.

And what does he get in the aftermath? Horror.

Everyone who cares about him is horrified by what he's done. Edwin goes so far as to call it extreme. They don't know the half of it, of course; they haven't seen what the Night Nurse just put him through. But in this moment Charles is at his absolute lowest, and all he sees is confirmation that he's exactly as terrible as he thinks he is.

That's why Charles shrugs off Edwin's attempt at comfort, here. When he needed to be able to do something to protect Edwin and also himself – when he needed to believe that he could be better than what his father always was – all he sees is the confirmation from the people he cares about most that when push came to shove, he really is a bad guy.

Then comes the aftermath. And this moment is such a brilliant, awful clash of both of their character arcs. It is so delightfully messy.

Because Charles starts to open up to Crystal here. He starts to lay himself bare, the way he ends up doing with Edwin in episode 5. He's on the verge of admitting something that he's been worried about for literal decades. He tells her, "I've been angry for such a long time."

And what does Crystal do? She's still in the midst of her own character growth. She's still struggling to support other people. She's still learning how to. In a lot of ways, though she's made progress already, she's still that selfish girl that Jenny called out in the very first episode.

And she shows it here it with the absolute worst possible timing. No sooner has Charles started to talk about what's bothering him than she cuts in with her own problems. She's tired of riddles and spirits and demons and not knowing who she is. And the look on Charles' face. The moment when he visibly sets aside his own problems, because Crystal doesn't need any more disasters on her plate? It's heartbreaking. You can actually track the subtle change in his expression there. The actor does a phenomenal job.

And then comes the kiss. And what spurs it? Crystal saying she needs something real.

This moment isn't about light-hearted attraction, the way the earlier flirting is. It's Charles setting aside what he needs – comfort and reassurance and a moment to talk through the things that have been tearing him apart – to give her what she says she wants. He can't even feel it. And Crystal isn't far enough along in her character growth here to realize how selfish she's being. Like Jenny said way back in episode one, she's only thinking about herself.

And then comes the absolute unmitigated disaster of episode 5.

Straight out the gate, Charles leans in for a kiss. From his perspective, they have something together; there's affection there. Charles "I think I'd miss kissing" Rowland, who has been starved for meaningful physical contact for thirty years, is not in a hurry to give this up.

But Crystal is fresh out of a nightmare where she conflates Charles with her abusive ex. She withdraws; she calls what they had a distraction. She cuts it off almost as soon as it's started, so focused on her own worries here that she misses how damn fake Charles' smile is, to cover up that he's coming to pieces.

To be clear, she's absolutely not in the wrong here. It is 1000% her prerogative not to jump into a relationship again while she's still struggling to work through what happened with David. But the arc of her narrative is still early enough that she does it all without so much as the awareness that her focus on her own issues has hurt Charles terribly.

And then the episode really kicks off, and both of them are in shambles in very different ways.

Crystal is projecting her issues with David onto Charles. She has a lot of history, and David seems as though he's exactly the right sort of toxic to leave lasting a lasting impact. But Charles hasn't done anything to deserve her assumptions, and he takes the brunt of her temper here and throughout the episode.

Charles is desperately projecting onto the dead jocks. He very badly wants them to be good guys, because he sees himself in them and he needs himself to be a good guy. He snipes back at Crystal for the very first time in this episode, and he does it in the worst way possible, accidentally prodding her where it will do the most damage.

They're both hurting. They both say some truly painful things to one another.

She does not need to hear that she has unsorted hangups about David still plaguing her while she's unable to move past them. He desperately does not need anyone to tell him that he has rage issues while he's still struggling to think of himself as a decent person.

They apologize, in the end. They start to move past it.

But it's telling that Charles doesn't try to open up to Crystal again. He goes to Edwin instead, even though Edwin is the one who called his actions regarding the Night Nurse extreme. He gets the reassurance he needs so badly; he gets the connection he was looking for with Crystal from Edwin, instead. (I have a lot of thoughts on why Charles initially tries to open up to Crystal so quickly, but it is very much an aside, and this is already extremely long, so it will have to wait for another write-up.)

But the important thing here is, Edwin is the one to offer Charles what he needs to overcome the self-doubt eating him alive. Edwin provides the physical affection Charles was seeking in the form of that long-overdue hug. Edwin is the one who's able to reaffirm for him that he's not just a good guy, he's the best person Edwin knows.

And for all intents and purposes, Charles' major character arc ends here.

Charles has a few last little moments to go on the path to rebuilding his own self-image, after this, but for the most part his concerns have been resolved. He saves Crystal in episode 6 and Edwin in episode 7, proving to himself that he's able to make a difference in the face of overwhelming odds. He's not helpless, no matter what the Night Nurse told him; he can be a force for good in the world. By the end of the series, his crisis of self-doubt seems to have been largely overcome.

But it's the conversation with Edwin at the end of episode 5 that really allows him to work through his most pressing issues. Edwin is there to help support him when he stumbles. Edwin provides him the comfort he was looking for while Crystal was too worried about her own problems to notice how badly he needed the help.

Crystal, meanwhile, still has a ways to go after episode 5. The last three episodes are where she does her most important character growth.

In episode 6, she learns some hard lessons about keeping secrets and letting people help and appreciate you even when you can't offer them anything in return. And Charles, importantly, is there for her every step of the way. He consistently offers her physical and emotional support. He models for her, in a very real way, what it looks like to have someone prop you up when you need the help.

And in turn, Crystal steps in to save the boys. She's the big damn hero at the end of this episode.

The breakthrough continues into episode 7. She's so intent on helping to get Edwin out of hell that she literally goes to face her own demons, not for herself for once – not for her own purposes or needs or wants – but because she wants to help someone else.

And episode 8, at long last, brings her to the culmination of her character arc.

Crystal is at her absolute lowest here. Her family, the people who were supposed to love her unconditionally, didn't even realize she was gone. Her precious memories, that she's spent the entire series trying to regain, have showed her that she's not the person she hoped she would be. She's overwhelmed enough that she means to flee, to cut herself off from her new friends entirely.

Then the boys get kidnapped. And just like that, she makes up her mind.

For the first time since the start of the series, she sets aside her most important issues in order to let what other people need take precedence. She disregards all of her own personal concerns and focuses instead on others. She's finally stepped out of those selfish impulses that Jenny calls her out on, all the way back in the first episode. She's finally learned how to support other people when they need it.

Crystal has finally figured out how to be there for others, despite having troubles of her own.

It's a lovely arc, and it's beautifully done.

Charles' is just as touching.

And god damn, but it was a brilliant narrative choice to have their character arcs line up in exactly the wrong way.

[sorrelchestnut]

I've seen a fair number of posts both here and on reddit that question why Tav (or the Dark Urge) would end up as a group leader for any other reason that "game mechanics say so." There's the requisite "okay, well if you play a high charisma character I guess it makes sense," or on the other end of the spectrum, "if you're playing Durge and murder someone right off the bat everyone would be too scared to tell you no." And I get where people are going with this! I really do. But it also fundamentally misunderstands a facet of human nature, which is that the vast majority of people do not actually want to be in charge, because that means being held responsible for the outcome. Accordingly, most people will dither when a group consensus is needed: have none of you ever tried to get a group of friends to agree where to go for dinner? Yeah, it's like that, but waaaay worse.

A lot of times "leadership" is just the willingness to say, "fuck it, y'all do what you want, but I'm doing this." I see it all the time in a corporate environment, where people will go back and forth on group meetings without anyone making a decision until finally one brave soul goes "in my opinion the clear answer is x" and then everyone gratefully goes along with it. Because now it's not their responsibility when something goes wrong! They're just following along with someone else's suggestion, and maybe it works or maybe it doesn't, but at the end of the day they don't have to worry about the consequences unless they're personally affected. In which case they might step up and argue back, and then they're stuck being a leader, too. Welcome to adulthood!

Lae'zel is the only one who ever even tries to exert some kind of control, when she tells you to follow her lead on the ship, or calls you her subordinate in the Grove. But, crucially, she doesn't ever make any serious attempt to take control: you can just tell her, "lol, no," and she sort of confusedly gives way, because she doesn't know how to handle this scenario. In her world there are commanders and subordinates, and everyone knows where they stand and falls in line. She's never actually had to take control of a situation and so at the first sign of resistance she falls back on the dynamic that's familiar to her, which is executing the commands of someone older and more experienced. She goes through a lot of growth over the game, to the point that she can take over as a resistance leader in her own right by the end, but at the beginning she's a wet-behind-her-ears private with some decent combat chops and it shows.

Otherwise, your party consists of:

Shadowheart, who's trained in infiltration and assassination and does NOT want a lot of attention brought to her or her mission for a variety of reasons;

Astarion, who has literally been a slave for two centuries and canonically takes a while to realize that he can exert an opinion beyond complaining about it;

Gale, whose only friend is his cat and couldn't project-manage his way out of a wet paper bag;

Wyll, who was probably trained for command at one point but has been doing the lone-hero thing for a decade and has a very large secret that he's trying to conceal; and,

Karlach, who's only ever been a bodyguard and a soldier and is genuinely just happy to be here.

Honestly, it would be more a surprise if Tav/Durge didn't end up as their unofficial leader, given the general power dynamics at play. The first time Tav/Durge says something like, "fuck it, we need to do something instead of stand around arguing about it, let's go check out those ruins over there," it's a done deal. They're The Captain Now! As long as they don't make decisions that fundamentally oppose something dear and important to the other group members, they're not even going to get any argument. Because at the end of the day, not one of these walking disasters has enough trust in themselves and their decision-making skills to feel any kind of certainty that they can choose the right path forward. If someone else is going to take that decision out of their hands? They're going to follow, no questions asked, right up until the moment they can't.

[bhaalble]

Back on my Wyll script doctor because I was talking about it with a friend. Specifically imagining a version of Wyll's big Character Choice that felt like it had some actual teeth.

Imagine a world where instead of a cartoon evil hot lady Mizora and Wyll's relationship actually had some complexity to it and like. some genuine push and pull which gives him temptation to stay. I just keep thinking about this 17 year old who his whole life wanted more than anything to be a hero, who got his chance to do something heroic and selfless and save the city from certain doom, and his reward is getting kicked out because he did it the "wrong way".

Imagine if instead of forcing his silence, Mizora instead comforted him. How unbelievably cruel of your father! Well...since you've nowhere else to go, why not stick with me? We make a pretty good team, as it turns out, and I can get you a whole list of monsters who need killing. Plenty of devils and demons loose in your world targetting all sorts of innocents. Our interests can keep aligning, and you get a place to sleep when you need it.

Wyll makes his peace with it, because he has nothing and no one. And Mizora's not GOOD maybe, not by Ulder Ravengard's definition. But she's fun. She delights in his growth. And she does certainly keep direct him at greater evils, devils who really do need killing. And if she spies on his every waking moment, well, she worries. If she sends him after the occasional innocent, well, she had people who she has to answer to as well. She's a devil, how much can he fault her for her nature? She's always seemed like she knew where the line was...

Karlach (and the player) express their doubts, of course, but for act one at least he's defensive. Yes, she punished him and he hates it and its miserable but....he was in breach of contract! She's NEVER gone outside its bounds, she's always stuck very closely to their agreement. Wyll, who wants so badly to trust others and believe everyone has the chance for good, can't find it in him to believe the worst even of a devil.

And Mizora is FOND of Wyll, loves him even in her way. As a cherished pet, as a trusted tool, as a best-laid plan. Never enough to choose his own well-being over her own agenda, never enough to see him as his own person. He's her little project, the long shot noble brat she gambled on when Tiamat decided to get too big for her britches. And it paid off! Wyll always pays off, currying her all the favor from Zariel she so desperately craves. And who are you, or anyone, to come between them? She's treated him well. As she's quick to remind him, she wanted him when no one else did, aided him while the rest of his city slept snug in their beds. And if Ulder Ravengard didn't want a son with a whiff of infernal, then do you REALLY think he'd want you with lovely horns and Avernus in your blood?

You discover his father's been taken. Beyond igniting a lot of old feelings, it brings up a question of succession. Of course, Florrick isnt giving up on him, but if not...there aren't currently any likely candidates to take over the Flaming Fists. Not trustworthy ones. Florrick will take the position, but everyone knows in the back of his mind Ulder never really stopped planning for it to be Wyll. With the city in chaos and a cult army on the rise, they may need an answer sooner rather than later. Wyll feels the call of the Gate, but knows just as well that Mizora wouldn't want him to return in such an official capacity.

For the first time ever the leash starts to chafe in a way he can't keep pushing through.

Act 2 rolls around. Mizora sends up the Warlock signal. After potentially some encouragement from the player, Wyll (NOT THE PLAYER. I DONT KNOW WHY ITS THE PLAYER IN THE GAME ITS WEIRD) hesitantly proposes that maybe, if he does this....they can do a renegotiation of his contract. Not break it, he assures her quickly! Just....reopen the terms, take a looks at the agreement. Maybe discuss an exit ramp? After all....I mean, neither of us truly thought I'd be doing this forever, did we?

Based on Mizora's reaction. Yeah she did.

But fine. She agrees. And Wyll's not mad that it turns out you're rescuing her, not a nameless "operative" for Zariel. He would've done that on his own had she asked. Its the fact that she apparently didn't feel like being honest, that she let him fret and worry about potentially handing Zariel back some runaway for basically no reason. Its the fact that she came here to check in on the cult that abducted his FATHER just to see if Zariel could make any use of them. And its the fact that she seems surprised and annoyed that ANY of this bothers him.

All this builds, of course, to the final confrontation. The basic elements are the same. Mizora outside the coronation (this time needling at Wyll, "I'll be at camp if you're not too high and mighty to consort with the likes of me anymore"), Ulder tadpoled and fighting it. Mizora makes her offer. I can end the contract now, and you're free to go running after daddy (who won't want you btw! not like I do!). You'll lose all your powers, all my aid, all those juicy quests to chase down the greatest monsters in the hells. Take on your father's job and settle in for a life of misery and compromise and only doing as much good as the nobles will let you. Or: pledge yourself to me, eternally. I'll give you a boatload of new powers and eternal life to boot, so long as you serve as my sword and shield.

From there I think three endings branch out, and with it three classes for Wyll. If he stays with Mizora, accepts a relationship where he will never be an equal or a free agent in exchange for the affirmation he wants so badly from his father, he remains a Warlock, with some juiced stats and extra spell slots, along with shiny new gear. If he pledges to follow in his father's footsteps, he instead becomes an Oath of Devotion paladin, pledging himself in service to Tyr, if with a sense of doomed finality. The Blade of Frontiers is officially retired, and along with it any identity he has outside of being his father's son. Or the third path, break the contract without taking his father's role. He will look for his father, yes, but whether or not you find him he's going back to his roots, travelling around to do some good in the world (as the Blade of Frontiers) or kicking ass in the Hells with Karlach (as the Blade of Avernus). In this timeline he becomes a fighter, with a default preference for Eldritch Knight.

What's important: if he breaks his contract then Mizora is NOT hanging around camp. She will leave in a fury, accidentally bound by her own word to withdraw her influence completely if he breaks his contract. She may still approach the player some night to sleep with the player, framed for high approval/romanced players and her trying to take something back from Wyll. But Wyll will have to learn how to define himself without her breathing down his neck, without keeping her happy dominating his every thought. Its nervewracking, and even lonesome at times...but its freedom. And, perhaps, that's worth a little bit of lonesomeness.

[byoldervine]

Writing Tips - Beating Perfectionism

1. Recognising writing perfectionism. It’s not usually as literal as “This isn’t 100% perfect and so it is the worst thing ever”, in my experience it usually sneaks up more subtly. Things like where you should probably be continuing on but if you don’t figure out how to word this paragraph better it’s just going to bug you the whole time, or where you’re growing demotivated because you don’t know how to describe the scene 100% exactly as you can imagine it in your head, or things along those lines where your desire to be exact can get in the way of progression. In isolated scenarios this is natural, but if it’s regularly and notably impacting your progress then there’s a more pressing issue

2. Write now, edit later. Easier said than done, which always infuriated me until I worked out how it translates into practice; you need to recognise what the purpose of this stage of the writing process is and when editing will hinder you more than help you. Anything up to and including your first draft is purely done for structural and creative purposes, and trying to impose perfection on a creative process will naturally stifle said creativity. Creativity demands the freedom of imperfection

3. Perfection is stagnant. We all know that we have to give our characters flaws and challenges to overcome since, otherwise, there’s no room for growth or conflict or plot, and it ends up being boring and predictable at best - and it’s just the same as your writing. Say you wrote the absolute perfect book; the perfect plot, the perfect characters, the perfect arcs, the perfect ending, etc etc. It’s an overnight bestseller and you’re discussed as a literary great for all time. Everyone, even those outside of your target demographic, call it the perfect book. Not only would that first require you to turn the perfect book into something objective, which is impossible, but it would also mean that you would either never write again, because you can never do better than your perfect book, or you’ll always write the exact same thing in the exact same way to ensure constant perfection. It’s repetitive, it’s boring, and all in all it’s just fearful behaviour meant to protect you from criticism that you aren’t used to, rather than allowing yourself to get acclimated to less than purely positive feedback

4. Faulty comparisons. Comparing your writing to that of a published author’s is great from an analytical perspective, but it can easily just become a case of “Their work is so much better, mine sucks, I’ll never be as good as them or as good as any ‘real’ writer”. You need to remember that you’re comparing a completely finished draft, which likely underwent at least three major edits and could have even had upwards of ten, to wherever it is you’re at. A surprising number of people compare their *first* draft to a finished product, which is insanity when you think of it that way; it seems so obvious from this perspective why your first attempt isn’t as good as their tenth. You also end up comparing your ability to describe the images in your head to their ability to craft a new image in your head; I guarantee you that the image the author came up with isn’t the one their readers have, and they’re kicking themselves for not being able to get it exactly as they themselves imagine it. Only the author knows what image they’re working off of; the readers don’t, and they can imagine their own variation which is just as amazing

5. Up close and too personal. Expanding on the last point, just in general it’s harder to describe something in coherent words than it is to process it when someone else prompts you to do so. You end up frustrated and going over it a gazillion times, even to the point where words don’t even look like words anymore. You’ve got this perfect vision of how the whole story is supposed to go, and when you very understandably can’t flawlessly translate every single minute detail to your satisfaction, it’s demotivating. You’re emotionally attached to this perfect version that can’t ever be fully articulated through any other medium. But on the other hand, when consuming other media that you didn’t have a hand in creating, you’re viewing it with perfectly fresh eyes; you have no ‘perfect ideal’ of how everything is supposed to look and feel and be, so the images the final product conjures up become that idealised version - its no wonder why it always feels like every writer except you can pull off their visions when your writing is the only one you have such rigorous preconceived notions of

6. That’s entertainment. Of course writing can be stressful and draining and frustrating and all other sorts of nasty things, but if overall you can’t say that you ultimately enjoy it, you’re not writing for the right reasons. You’ll never take true pride in your work if it only brings you misery. Take a step back, figure out what you can do to make things more fun for you - or at least less like a chore - and work from there

7. Write for yourself. One of the things that most gets to me when writing is “If this was found and read by someone I know, how would that feel?”, which has lead me on multiple occasions to backtrack and try to be less cringe or less weird or less preachy or whatever else. It’s harder to share your work with people you know whose opinions you care about and whose impressions of you have the potential of shifting based on this - sharing it to strangers whose opinions ultimately don’t matter and who you’ll never have to interact with again is somehow a lot less scary because their judgements won’t stick. But allowing the imaginary opinions of others to dictate not even your finished project, but your unmoderated creative process in general? Nobody is going to see this without your say so; this is not the time to be fussing over how others may perceive your writing. The only opinion that matters at this stage is your own

8. Redirection. Instead of focusing on quality, focusing on quantity has helped me to improve my perfectionism issues; it doesn’t matter if I write twenty paragraphs of complete BS so long as I’ve written twenty paragraphs or something that may or may not be useful later. I can still let myself feel accomplished regardless of quality, and if I later have to throw out whole chapters, so be it

9. That’s a problem for future me. A lot of people have no idea how to edit, or what to look for when they do so, so having a clear idea of what you want to edit by the time the editing session comes around is gonna be a game-changer once you’re supposed to be editing. Save the clear work for when you’re allocating time for it and you’ll have a much easier and more focused start to the editing process. It’ll be more motivating than staring blankly at the intimidating word count, at least

10. The application of applications. If all else fails and you’re still going back to edit what you’ve just wrote in some struggle for the perfect writing, there are apps and websites that you can use that physically prevent you from editing your work until you’re done with it. If nothing else, maybe it can help train you away from major edits as you go

[piratecaptainscaptainpirates]

Okay, so, there's one thing that I'm kind of tired of beating around the bush with white fans about, and it's this: if you pretend to "ignore" race in OFMD, you will miss a lot of what the story is trying to tell you.

Now, I do not truly believe that race is something you can ignore in a story. I just don't think it's possible, and when you try, what you wind up with is something like the conservative worldview of "not seeing color." Trying to ignore race will make you sound racist and ignore important racialized themes.

You can't understand Stede's need for character growth at the beginning of the show if you just focus on how he's "cringe" instead. When Stede makes his crew members of color serve them at dinner when the English board, this is gross, and their faces tell us exactly how they feel about it. Stede unlearning his biases here isn't subtle (guy who called him and Pete "fucking racists" I love you forever), and learning to take all of his crew members seriously as fully actualized people, moving away from the sort of Kindergarten-teacher behavior at the start to truly valuing them as people and taking their input and suggestions, it's an important aspect. Stede asking Abshir for intel at the party isn't just funny, it's also proof he's learned to see value in people in positions like Abshir's.

You can't understand the motivations behind Ed's actions, especially the violent ones, if you ignore the racist overtones. Ed is not a randomly violent person - he gets angry at a captain for calling him a "rich donkey," and if you think it's unreasonable for a brown man to want to get revenge on a white man for calling him that? Then fuck I'm glad you can't see the conversations I have with my other black friends, man. Ed's anger and frustration at the party aren't just because he fucked up with some spoons, lol, you can't get it unless you realize he's the only brown guest in that room. Yeah, he's ignoring Stede's advice, but he's immediately under a pressure Stede never has been. Ed's wanted posters in s2, too, rely on heavily caricaturizing Jewish features to make him look grotesque and monstruous. We're supposed to be horrified by that aspect.

And, yeah, when we ignore the racist tones to Izzy's behavior, I think that's undermining an important aspect of who he is as an antagonistic character. Him buying Ed from the English should feel like a gross violation, because it is. When he sits in front of the crew eating and making Fang and Ivan serve him, I think it's a pretty obvious parallel to how the crew members of color were similarly insulted in the pilot. It's impossible to ignore race in the way he dehumanizes Ed and tries to force him back into a caricature of behavior he hates and is horrified by - when he calls Ed a "wild dog" in s2, if that doesn't cause a visceral reaction of disgust in you, I dunno what to tell you. This doesn't mean that Izzy is irredeemable - just as Stede wasn't - but it does mean that racist biases are things Izzy had to unlearn.

OFMD so often takes so much care with how its characters of color are depicted. We get thoughtful, relatable moments (those French boat people getting humiliated and setting their boat on fire after they'd tried to touch Ed's beard is so satisfying, guys) and excellent, supportive friendships between men of color. The characters of color on OFMD are clean, smart, respected, and it's wonderful. And just because these things aren't always relatable to you specifically doesn't mean they're not important parts of the story.

[bekolxeram]

I'm usually very block happy, but sometimes a couple of hot takes from the opposite side of the fandom manage to slip through. I'm no saint, I admit I do get quite worked up at first, but after some time, I realize they give me new perspectives to scenes I've watched countless times and discover things I didn't pick up before. So this one is for all of you, staunch Tommy haters, thank you for enriching my viewing experience.

In 7x04, when Tommy goes to Buck's loft to talk things out, this line gives some people the ick, because it echoes what Taylor said in 5x05. In that episode, Buck thought his team was off because they blamed him for Chimney leaving. He talked to Taylor about it, she shared her own experience with her boss being sulky around her, and it turned out her boss was just in a lot of physical pain, she ended the conversation with "maybe not everything is about you". While what she said was absolutely right, and she made an effort to make Buck feel appreciated at the end of the episode, but I can also see Buck not feeling supported emotionally at the time the conversation occurred. In a fashion true to her profession, Taylor delivered it in a very blunt, direct and advisory way. Her being right did not cancel out Buck feeling insecure about everyone acting weird around him and him not knowing why.

What Tommy says here though, is in a a completely different context.

Before all of this, Tommy has already reassured Buck that he's not trying to replace him, that his place in Eddie and Christopher's life is irreplaceable.

Look at Buck's smile, he's apparently in a better mood than before. It's like a weight has been lifted off his shoulders.

So going in this next part, Buck is more receptive to what he frankly needs to hear: Eddie isn't hanging out with Tommy because Buck did something wrong, he just enjoys Tommy's company.

We've witnessed Buck's growth over 7 seasons, now he can recognize that getting jealous easily is one of his character flaws, he tends to overthink and make other's action personal when he's feeling insecure in a relationship. He's telling Tommy this probably to signal that he understands he messed up and he understands what he did wrong. He never expected Tommy to validate his feelings.

But Tommy does empathize with his predicament.

Buck doesn't understand what Tommy, the cool, confident (and hot) pilot would be jealous over. And he almost can't believe Tommy gets what he's been feeling.

Tommy tells Buck that he's envious of the ride-or-die familial bonds within the 118 nowadays, as if he didn't also put his career and life in danger just to save Athena and Bobby (probably Hen's career as well), after one phone call from Chimney.

Now it's Buck's turn to reassure Tommy.

Another hot take I've seen from the other side goes like "if Tommy was nicer to Hen and Chimney back in the days, he wouldn't have to be jealous over what the 118 has now". You know what? Judging by Tommy's face here, he probably would agree. This is not the face of a man who is proud of what he did. This is the face of a man who is burdened by guilt and regret, this is a man haunted by his past, this is a man who doesn't think he deserves the praise.

Buck even cites fake mouth static as an example of Tommy's effort in aiding the 118's clandestine rescue mission, and they naturally fall into a flirty dynamic. I have no explanation for that, except, your honor, this is exhibit A against the "no chemistry" allegation.

Buck then spells it all out for Tommy that he also put everything on the line just for the 118, without hesitation. Tommy looks like he still has a hard time accepting it as an act worthy of redemption for his past behavior.

We've all made mistakes, and we all know we can't go back to the past and change what we did, so the best way forward is to change ourselves and be better. Judging by Tommy's "and [Gerrard] didn't make me a better person" line in 7x10, he quite possibly reflected on this a lot. Yet, sometimes you still can't help but doubt yourself over if you've learned enough from your past, if you're a good enough person now. I can't imagine how good it feels hearing Buck say out loud that he actually likes the person Tommy is now.

Apparently Buck likes Tommy so much that he came up with excuses just to hang out with him and get to know him.

Tommy is pleasantly surprised, because he did tell Buck to call him when he wants to go up. In fact, Buck can call him for whatever reason, Tommy accepted the Harbor tour request, there's nothing indicating that he would feel weird just hanging out with Buck. Tommy just doesn't know how much of a overthinker and bi disaster Buck truly is yet, but that's the story for another time.

Buck and Tommy really don't know much, if anything, about each other at this stage, as you can see in 7x05, but they're already validating each other's feelings. We've seen Buck get his feelings ignored, hurt, dismissed and kind of fetishized for 6 seasons, now this is something he's been looking for the whole time, for someone to understand what he's going through. At the same time, this interaction must also be quite freeing for Tommy, who's been haunted by demons from his own past.

[universalitgirlsblog2]

🎀🍓⚞🎀・◦・⚟ YOU ARE NOT A VICTIM.🎀🍓⚞🎀・◦・⚟

🍓REALISE THAT LIFE IS A IMAGINATION.

You going to your job. Your job is your bosses imagination. He imagined a company that he wanted to create and then he put it into physical realm. So you are basically working towards your bosses imagination.

Countries are not real. We all collectively imagine a border but it's not real. It's all earth. Everything is earth but we imagine that those countries are separated.

Money is also imagination. It's just a piece of paper. We imagine that the amount of money in our bank is worth that much but it isn't. If tomorrow a big corporation says that the money in your account isn't worth that much or the money isn't in use anymore . It's not.

All this means that we all are living in a imagination. A dream . A game . Matrix. Whatver you want to call it.

We imagine everything we do. We imagine our future and dwell in our past which also doesn't exist. Future and past doesn't exist. Only this moment exists.

🎀REALISE THAT YOU ARE THE CREATOR OF YOUR IMAGINATION.

We can create this imagination or dream however we want it to be.

🍓QUESTIONS TO ASK YOURSELF

How do I want to create my game , my dream ?

How do I want my imagination to look like ?

Who do I allow into my imaginations ?

How do I behave ? Who am I? What does my character look like ?

🎀BEING A VICTIM MAKES YOU FEEL SAFE

Being a victim is the most comfortable thing because you don't have to do much. Your life is a circle. Everything just keeps moving in the same way , in the same circle. But this is comfortable for you. Why ? Because you know what is going in happen in the circle. You don't have to take risks. You don't have to deal with different people.

🍓CHANGING YOUR LIFE AND STOP BLAMING OTHERS

To take a leap of faith , you need to be brave. It takes guts. Everyone wants to blame everyone . At the end you will be left no one to blame but yourself. Your life is shit because of you. People don't care about your victim mentality. You know when they care ? When you get out of it. When your life becomes a success story. David Goggins is not David Goggins without his success. No one would care if he was the same guy before.

🎀YOUR LIFE WILL ONLY CHANGE IF YOU CHANGE

Everyone moves on and you will be left behind. NO ONE IS GOING TO SAVE YOU. WHY ? BECAUSE NO ONE CAN SAVE YOU. The only person that can save you is you. No one is going to make you change.

🍓GROWTH IS : 2 STEPS FORWARD AND 1 STEP BACK.

Everytime you learn something,it's one step forward because you have more knowledge but if you put it into practice, you will be 1 step back because you are not used to it. You still have to continue. If you feel uncomfortable and give up, you will be right back where you started. Stop abusing yourself by being in the same circle that you don't like. Stop abusing yourself by being the same person that you don't like. Look in the mirror , we don't have anyone to blame. As a victim it's easy to run away and be like " I tried I tried", You didn't try and you didn't try hard enough . Try again . Try again until you get there.

🎀REALISE THAT YOU ARE ADDICTED TO DRAMA.

Alot of people when they come out of abusive household , later they will think that it's too peaceful . They will start to attract people that will give them that toxicity again because this is the only thing they knew. Realize that you are the creator of that drama though. You can choose to have a peaceful life. You can choose to have peaceful people around . If you can't find peaceful people , just be peaceful on your own for a while until you find someone that makes you feel peaceful.

Stop creating drama when it was never meant for you. Stop involving yourself in things that were never meant for you. Stop watching things that are so dramatic.

🍓REALISE THAT YOU HAVE CONTROL.

You have control who comes into your life , you have control about who you date . You have control about what you watch , listen to , what you read. You have control over what you put in your mind. Your mind isn't a dustbin.

If you decide to open the news and it's all negative and now your day is bad. Don't blame the news. Blame your eyes and blame your hands for putting that on.

🎀ASK YOURSELF : WHY DO I ALLOW THESE PEOPLE IN ?

"My friend , partner is toxic". Why don't you start looking at why you allow them in ? Don't you have control over who I allow into my life? Why don't you ask yourself ? What is it in you that you don't feel worthy enough of having people that actually respect you ?

🍓WHAT ARE YOU DOING TO FIX YOUR LIFE ?

What part are you playing in life ? You can cry all day about being overweight or underweight . Are you doing something to fix that or are you just crying all day ? What are you doing to fix your life?

🎀WHEN YOU WANT SOMETHING BADLY YOU WILL FIND A WAY

When something wants something badly , they will get it done anyway.

🍓GO FROM COMPLAINING TO GRATITUDE

Turn your mindset around. Set your mind on a plan and focus on it . The more you start going from complaining to gratitude, the more your life will change. If you constantly focus on what isn't there instead of what it is , you create more of that.

🎀REALISE HOW PRIVILEGED YOU ARE

You are privileged and you want to talk about people in North Korea. They won't be able to see liz video or read this post since they don't have access to internet but you do.

🍓WE NEED THE GOOD AND BAD TO KEEP THE WORLD IN BALANCE.

This is how the world works.

🎀PAST AND FUTURE DONT EXIST

Accept your past and start working on yourself. It doesn't exist. You only have now. Don't dwell on the future. What are you doing now ? How you are now will determine your future and not the other way around.

🍓RECOGNISE THE WAYS YOU SABOTAGE YOURSELF.

Everytime something good comes into your life. Do you ruin it ? What in life are you doing that sabotages you ? You have to ask yourself these things.

🎀START TAKING RESPONSIBILITY FOR YOUR BEHAVIOUR

It's not fair what happened to you but whatver I do with it next , it's on you.

🍓TAKING CARE OF YOURSELF FIRST IS THE MOST SELFLESS ACT

If you don't take care of yourself , you can't show up as the best mother , daughter, employee or boss. You don't feel good . You are depleted and depressed. If you want to perform the best you want to be for others , then you should think about you first and nurturing you first so you are happy. If you don't feel good in your life , it's okay to take a step back from everyone and focus on nurturing you . Put yourself first . No is coming to take care of you.

🎀YOU DESERVE EVERYTHING YOU DESIRE

You deserve everything you want and you can get once you set your mind to it. Stop taking advice from people that you don't want to share lives with ,these people are miserable themselves.

🍓🎀 ⚞🎀・◦・⚟I LOVE LIZ SO MUCH. 🍓🎀 ⚞🎀・◦・⚟

[luv4fushi]

omfg i litr read everything uve written off ur masterlist I NEED MOREEEE. i love the way u write megumi especially, i couldn’t get enough of it. i hope you write more of him, my heart aches for more tbh 🥹 tysm for being such a good writer and feeding us starved readers well

tysm! i'm sooo glad i can be a good source of megumi content for you >_< i looove writing megumi so you'll be seeing sooo much more of him, dw! happy holidays!

this december

jjk fushiguro megumi x fem!reader

it’s always colder on your own, especially around this time of year. you should be at home, bundled up with a warm cup of hot chocolate, but here you are in shinjuku, exorcizing curses with your ex boyfriend two weeks after your breakup with him. great.

content: post break up, aged up megumi (19/20), megumi is terrible at feelings, getting back together, fluff if you squint, a bit of angst, miscommunication, one bed (but it isn’t the main plot point sorry), megumi calls you baby like once, gojo is the best wingman, SHIBUYA ARC NEVER HAPPENED AND LIFE IS GOOD, not proofread im very sorry guys pls forgive me, kinda a word dump sry

word count: 5.8k (sigh this was supposed to be 2k words max)

click on my masterlist for more & merry christmas to those who celebrate!

it’s december 19th when satoru gojo tells you that he has a mission just for you. you’re less than ecstatic about it to say the least. the last thing you want to do is be sent to your death just shy of christmas day. you just want to rest your sore muscles and bask in the presence of your best friends. you’re not in the mood to kill any curses, mainly because you’ve just recovered from a previous mission.

“why me?” you groan.

gone are the days where you used to be a goody two shoes for satoru. you’re old enough to talk back now, not like when you had been a shy fifteen-year-old girl. besides, you’ve been around the silver-haired sorcerer long enough to know that he doesn’t mind the bite.

“sorry, kid,” satoru says with a shrug. at least he sounds genuine about it. “the higher ups requested for you specifically. they say you’ll get the job done in the cleanest way. we can’t have things getting messy before the holidays, right?”

“and you wouldn’t be the best choice?” you quip.

satoru only laughs. he ruffles your hair. even with your growth spurt and merciless training, he still towers over you. in a way, he’ll always be your mentor. “hey, i’m going out of town that weekend. give me a break.”

you huff petulantly. something about this mission seems fishy to you. you’re not nearly the strongest sorcerer out of the bunch of kids under satoru’s wings (not that you guys are kids anymore, but sometimes it’s hard to feel otherwise). hell, there’s the kyoto students. it feels like they never have to do anything. you wish that you were rebellious enough to chew utahime out for it.

“why couldn’t they just make yuta or megumi go?” you mutter under your breath. you stammer out megumi’s name and hope satoru doesn’t catch on to the way you can barely say it.

satoru knows about the breakup. why wouldn’t he? he’s basically megumi’s dad, even if the raven haired boy refuses to admit it. satoru’s six eyes mean you can’t hide anything from him (he’d been the first to know that megumi was head over heels for you).

satoru raises a brow. “oh, right. megumi’s coming along too.”

your face twists and you immediately whip around to glare at him. “you’re lying.”

“i wish,” he jokes. “i was really hoping i’d get a wedding invitation one day, you little rascal. i can’t believe you two broke up. maybe this’ll be a good thing!”

“i appreciate your honesty, but—”

“but megumi’s an emotionally constipated kid, yeah, that i know,” satoru laughs. he makes his way to the exit of his office which has you furrowing your brows. is your former teacher actually gonna just leave after making you come all the way here? how rude and so very in character of him.

“please, gojo,” you call out after him, “i don’t wanna go with him.”

“sucks for you,” satoru responds halfheartedly. “merry christmas. try not to take more than a week on this. you’ll have to pay the rest of the fee for accommodations if you do.”

“gojo!” you whine.

“it’s not a hard mission!” satoru insists like it’ll make your life any easier. “y’know, this time of year is when things get ugly. think of it as saving as many people as you can while putting in the least amount of effort!”

and then he teleports. your former teacher teleports away rather than being normal and walking out of the door. you roll your eyes and hope that he can sense it (you know he can’t).

so that’s why you’re here now. with your ex. on the elevator to your assigned room on the tenth floor. you’re so glad that it’s a normal hotel and not a love hotel. lord knows what you’d do if you had checked into a love hotel.

megumi hasn’t spoken a word to you since he broke up with you two weeks ago. it had been in the doorway to your apartment a few days after a particularly rough mission assigned to the both of you—the one you’re still recovering from. he’d pulled you in for a hug, whispering sweet words into your ear. he gave you a look, one of those looks that made him soften his usually sharp eyes.

“i think we should break up.”

and then came the pathetic whimper of yours. he had wiped your tears, even kissed them tenderly, before telling you that it wasn’t your fault—it was his. how cliche.

now as you stand next to him, you want to beat yourself up for not asking for closure. neither of you had explicitly stated that you two were going to be no-contact, but it hurts a lot less to push the idea of forever with megumi away to the back of your mind. besides, you two aren’t confrontational like that. not with each other, anyway.

“need help?” his tone is soft, tender—the tone he reserves specifically for you, the one that tells you he still cares.

you stare down at the luggage at your feet. you’ve always been a chronic overpacker, a habit that megumi knows of by now. he watches you curiously, hands itching at his sides. you can tell that he wants to reach out and grab your suitcase like he always does. he thinks he isn’t obvious, but you can always read through the lines, especially when it’s megumi.

“i’m okay,” you croak out, clearing your throat awkwardly.

the elevator dings and you make your way to your room. as much as you hate to admit it, you’re sort of glad that you and your ex boyfriend are sharing a room. perhaps his’ll be a good way to get closure, though you’re not really sure what closure entails.

what you don’t expect is to unlock the door and be met with a singular bed.

if satoru gojo didn’t have a layer of infinity coating his body (and if he wasn’t the strongest sorcerer alive), you would’ve wrung out his neck.

megumi simply walks into the room, setting his duffel bag down on one of the dressers opposite from the foot of the bed. he doesn’t comment on the lack of double beds, seemingly already aware of the set up.all he does is puff out a weary sigh. you suck in a breath and follow him inside, slipping your shoes off at the entrance.

you lug your suitcase in after you along with your duffel bag and backpack. you stumble forward and megumi’s arm snakes around your waist, steadying you.

“careful,” he mutters, nonchalantly taking your bag off our your shoulders.

it’s a quick series of movements; he swings your bag over his shoulders and places it on the dresser next to the one he’s claimed while guiding you softly to the side of the bed so that you’re not standing in the middle of the doorway.

you scrunch your face, feeling your heart thump against your ribcage. it’s stupid how he still has such a hold on you, even after two weeks of not seeing or talking to him. he’s just so caring, so gentle. it stings, like little the little cuts you get when fighting curses, when you realize that this is something you’ll have to learn how to lose.

“thanks,” you manage to mutter. you don’t trust yourself to say anything else. you know from the way your throat tightens that you’ll be crying soon if you force yourself to talk any more.

“i can take the couch,” megumi says.

it’s that easy with him; he’s a gentleman, so of course he’d take the couch. that’s the way megumi fushiguro is—he offers a solution before you even have the chance to complain. in your year and a half long relationship, that skill of his had been a saving grace.

“no, don’t bother,” you croak. “i’ll book another room.”

“really?” he asks. he stands up a little straighter, awkwardly reaching up to scratch the back of his neck. “i mean, i don’t mind sharing a room with you… we’ve..”

we’ve shared a room countless of times before.

megumi doesn’t have to continue his sentence for you to understand what he’s implying. you part your lips to speak, but nothing comes out except for a long, heavy sigh. your shoulders drop as you let the exhaustion seep into your bones. there’s no use arguing about it, not when you don't’ mind sharing a room with megumi, either.

“we’ve broken up,” you remind him in a quiet voice, like you’re afraid saying it out loud will make it truer than it already is.

megumi pauses. you see his adam’s apple bob as he swallows thickly. “i know that, but … it’ll be fine. we’ve shared a room as friends before.”

he’s right, like he usually is. you two have shared a room before as just friends, but that had been as teenagers—back when you both harbored such hardcore crushes on each other that you two somehow didn’t notice.

“right,” you find yourself agreeing with a small nod.

“you should go get ready for bed.” megumi begins grabbing a few or the decorative pillow off of the bed. he places them gingerly on the brown couch tucked in the corner of the hotel room. “we’ll be getting up pretty early to deal with the brunt of the mission.”

to finish this mission as quickly as possible, you think.

and so you oblige and head to the bathroom. it’s december 19th, just a few days shy of christmas day, and you’re in bed with your ex boyfriend on the couch just a few feet away.

december 20th greets you with megumi hovering over you. he peers down at you with his messy bangs covering his eyes. they’re piercingly blue as he blinks. his lashes flutter perfectly, even in the early morning. your eyes meet his and you jolt awake.

“good morning,” he says. “your alarm has been ringing for a bit now, so i turned it off.”

you blink rapidly, getting the tiredness out of your eyes. “oh.”

he chuckles softly, just enough for you to catch it with your ears. he rises from his crouched position and heads to the front door. he spares you a glance over his shoulder before he heads out, presumably giving you the privacy you need. you let out a strangled breath before you swing your legs over the bed and head to the bathroom.

by the time you’re finished putting on your uniform, you swing the door to your hotel room open and see megumi leaned up against the wall, tapping away on his phone. his dark blue eyes flicker up to you and he turns away to head down the hall.

you furrow your brows. you can’t help but think that he’s being a little cold to you. it isn’t like you initiated the breakup. despite your frustration with his behavior, you can sort of understand why he wouldn’t want to be sweet around you; you two aren’t dating anymore and so it makes sense that he’d go back to being aloof in your presence, the usual way he acts around everyone else. losing that position in his life makes your stomach churn for reasons you’re less than willing to uncover.

your mission is a vague one; all you know is that it’s a clean-up mission. rather than a level 1 curse (or even a special grade), the mission consists of an acclimation of weak curses surrounding shinjuku. these missions are normally given to younger, more inexperienced sorcerers with the help of a senior sorcerer, but for an odd reason, it’s been given to you and megumi this year. megumi could’ve probably handled it himself. actually, you could’ve handled it yourself.

you bite your tongue to hold back on your complaints as you walk just a step behind megumi. he pauses regularly, waiting for you to catch up to his side. you roll your eyes in secret. does he not realize that you don’t want to walk next to him?

“it’s all just bars,” you mutter.

with that, you earn a tiny laugh from megumi. “well, yeah. this is the red-light district of shinjuku.”

you pale. “this sucks.”

“why do you think i wanted to come out here in the morning rather than at night?” he says, his tone strangely light.

“to deal with the brunt of the mission,” you repeat his words from last night sarcastically. you’re unsure as to what he’s talking about, so you think that it’s okay to give him a little bit of attitude.

he raises his brow but doesn’t comment on your sarcasm. instead, he says softly, “no, stupid. it’s because this is the red-light district. it’s unsafe for anyone, especially a pretty, young girl alone at night.”

your first thought is to coo and tease him. you think i’m pretty? it takes you half a second to remember that you two are broken up. you scoff, “i’m perfectly capable of handling myself.”

“i never said you weren’t,” megumi shoots back. “it would just be annoying explaining to the higher ups why you were fighting people and not curses.”

“i’m sure they’d understand,” you retort, frowning. you cross your arms.

“don’t be so pouty,” he says in that stupid, gentle tone he uses with you when you’re acting bratty.

you both decide to split up. well, it’s more like you demand the two of you to split up. you say it under the pretense that it’ll get the job done faster. besides, you both want to be home before christmas day, right?

there’s about two curses you cross paths with every hour. you’re starting to lose your mind. shouldn’t the streets be infested with them? you don’t even need a veil! all you have to do is give the weak curses just one punch and they vaporize on the spot. your head is running with hundreds of thoughts.

that’s when it hits you: the first years at the tokyo jujutsu school did come out here a week prior! maybe they did a bad job? but you remember nobara had been the one to lead the group. she may half-ass almost everything in her life, but she wouldn’t jeopardize her underclassmen for the sake of her freetime.

so why on earth are you here? it’s not like there are enough harmful curses for a mission to be assigned to you right before christmas, and to you and megumi of all sorcerers. you’re both strong enough to the point of having some kind of importance in the jujutsu world. the higher ups wouldn’t send the two of you on some stupid mission for the sake of it unless they’re planning some sort of secret execution. but even then, satoru gojo should’ve known through their lies to not send you or megumi. unless…he wants you two dead…?

you shake your head and bite your nails. the sun begins to set and you realize that you’ve been out here for longer than you expected. you’re starting to feel a chill in your bones—you had argued petulantly with megumi earlier about not wanting to wear your jacket despite it being the dead of winter; “it’s gonna get in the way!”

you always seem to forget the the sun sets earlier in the winter. it’s stupid how bright all the lights are in shinjuku. there isn’t a square foot of anything that isn’t lit up with neon signs reading out the names of clubs and bars. you see couples and large groups of people walking along the streets.

it’s lonely, you realize. it would’ve been less lonely with megumi.

you make your way to the meeting spot with megumi. you both share a few small words before retiring for the night. megumi says he wants to go sightseeing, even though there’s really nothing much to see. he doesn’t return to the hotel room until late at night.

when he slips into the only bed that the room offers, you chalk it up to the slight alcohol you smell on his lips. it feels so natural that you don’t push him away even though you should. his body is warm and you fit so perfectly against his broad chest that you think it’ll be okay for you to be a little selfish tonight.

“g’night,” megumi mumbles in his sleep.

you smile and nuzzle closer.

it’s december 21st as you realize how late it is in the day. megumi is back on the couch. you feel a tinge of disappointment in the bottom of your stomach.

to no one’s surprise, the sun is barely peeking over the buildings when you’re finally back in the red-light district. you’re doing the last bit of cleanup, but there’s really nothing much for you to clean.

tomorrow, you’ll be heading to a shopping mall, so you suppose you should do your best to sniff out the rest of the curses littering the place unless you want to stay here an extra day. the day is, yet again, slow.

it’s nearing 8 PM and you're finally sure that you’ve gotten rid of all the curses in the general area. you’ve been done for quite a while now, but you just haven’t found the courage to let megumi know that you’re ready to go back to the hotel room. a little sightseeing on your end wouldn’t hurt, right?

“hi, pretty.” a gravelly voice, battered by cigarettes, whispers in your ear.

you jump in surprise. you need to remember not to get too far into your head. you should’ve felt his presence coming from a mile away. it’s a terrible habit and satoru has scolded you for years about it.

“hi,” you mutter, pushing past his larger frame.

the man isn’t as nicely built as the men you know (but then again, your friends are jujutsu sorcerers, so it’s kind of hard to beat that), but he still towers over you. he’s got a squad of rough-looking guys behind him, smirking down at you.

“why’s someone like you alone?” he says, shoving his arm to loop around your waist.

you roll your eyes, getting ready to punch the man square in the nose. will you get in trouble? probably yes. will it be a funny story to tell? also probably yes.

“don’t touch my wife.”

the group of men turn their heads along with you to see megumi. his expression is shrouded with a mixture of anger and frustration. you blink in confusion—megumi usually looks pretty pissed off, but this is the most angry you’ve seen him in a while. and ‘wife’? what’s up with that?

“oh, my bad,” the man chuckles. “didn’t know this pretty thing was married.”

“this ‘pretty thing’ wants you to let her go,” you say with an overly sweet smile. your teeth clench and you hiss, “right now.”

the guy scurries down the sidewalk with his buddies trailing along, making fun of him for hitting on a married woman. nobody mentions the lack of a ring on your finger. nobody mentions the lack of a relationship, either.

“wife?” you scowl. “we’re broken up.”

“guys tend to back up when they know a woman is married. it’s the only way you can really, uh, get them to go away around here.”

you glare at him. “and how would you know? you come here often with girls?”

“...no?” he blinks, unable to comprehend your sudden burst of jealousy. “i sometimes get missions around here, though. pretending to be married was the easiest way—”

“we aren’t, though. we’re not even in a relationship.” you seem to be throwing that into his face a lot more than you should. you can’t help it, though. you still feel a little bitter about not getting a real reason as to why megumi wanted to break up.

“i was trying to help you.” he’s calm and collected, as heard through his voice. he walks up to you and takes your freezing hand into his much warmer ones. “let’s go home.”

“i don’t want to,” you argue.

“stop being a brat,” he says, but there’s no bite to his words. “you’re cold and you’ve been out here all day. if i hadn’t stopped those guys, you probably would’ve beat them up pretty badly.”

“i’m not a fucking brat!” you try to retract your hand, but megumi’s grip only tightens.

“baby, stop,” the pet name rolls off his tongue with ease. megumi sighs softly and pulls you to his chest. “why are you so worked up, hm?”

from the way he speaks, you can tell that he already has an inkling. the breakup. cuddling last night. hugging you now. everything.

you don’t realize you’re crying until he gently wipes his thumb under your eye. he has the audacity to have an amused grin plastered on his stupidly pretty lips. your vision is blurry but if it hadn’t been, you would’ve thrown a punch.

“i’m sorry,” he whispers into your hair. “it’s all my fault.”

“it is,” you whimper pathetically. all the tears and the emotions you’ve been holding back bubble up to the surface.

“don’t be upset,” he almost pleads. “let’s go back, okay?”

the night ends with megumi on the couch. neither of you bring up the argument or the fact that he had slept in your bed with you last night. you two don’t talk about the usage of pet names, either.

when you open your eyes on december 22nd, you’re surprised to see that megumi has already headed out for the day. you click your tongue in annoyance—he’s always been good at avoiding his problems when it comes to dealing with them, especially problems involving his emotions. you already know where you’re supposed to be headed, so you suppose that it’s for the best that he’d left before you.

the shopping mall is a long line of vendors and stores among other things. the snow on the ground is fresh—it must’ve snowed late last night after you’d fallen asleep. it crunches underneath your beat-up sneakers with each step you take. you’re not shocked when you end up wandering aimlessly, dipping in and out of stores with no real urgency to finish your mission.

there’s nothing to do anyway.

you’ve killed about 3 curses total and it’s really starting to look like you’ve been sent out here for busy work. you really should’ve figured that out the first day of the mission when you had to practically beg the curses to come out and fight you.

you find yourself in the front of a jewelry store, eyeing a pretty bracelet that you know would look stunning around megumi’s wrist. it’s one of those bracelets that clasp tightly. there’s a thicker band in the center with pretty carvings that seem to resemble some sort of swirly heart. it’s pretty, you have to admit.

without much thought, you buy the gift.

the seller has to clear her throat to get your attention when you don’t answer her question. “um, would you like this to be wrapped?”

you nod absentmindedly. “oh, yes. sorry. please wrap it.”

she nods in return and proceeds to wrap the bracelet in a tiny box, adorning it with a festive bow. you ask her to change it out for a different color, explaining that it isn’t a christmas gift and instead, it’s for someone’s birthday. she offers you a warm smile before switching it with a muted blue ribbon.

you return to the hotel, having to take an expensive taxi. you don’t mind—the bracelet has already made a decent-sized dent in your wallet. why not spend an extra amount on getting home? it’s not like jujutsu sorcerers are paid poorly.

reality hits you when you finally get back to the hotel room. you want to punch yourself for being so stupid. did you really just buy a birthday present for your ex-boyfriend?

you’re thankful that megumi hasn’t arrived yet. he seems to be determined to avoid you for as long as he can. you can’t blame him, either. you did give him quite a hard time yesterday.

you toss the box on to the dresser and head to the bathroom to splash some much needed cold water on to your face. maybe that’ll wake you up enough to clear your mind. you’ve acted out once during this trip already and you’re not really looking forward to any other possible outbursts.

you rinse your face and pat yourself dry with one of the face towels provided to you by the hotel staff. you hang it over the rack again and tiredly make your way to your bed. you halt your movements when you see megumi standing by the dresser, admiring your gift.

he looks up at you in surprise with the smallest grin on his face. it’s so subtle that you would’ve missed it had you not been dating him for nearly two years.

“is this for me?”

“no,” you quickly deny. his face falls and you cough out, “um, i mean.. yeah. i-i didn’t… i… happy birthday.”

he brightens, lips pulling up into a real, genuine smile. “you remembered?”

“why wouldn’t i?” you blurt gently. you bite your inner cheek to stop yourself from saying anything more.

“i dunno.” his voice is distant and low, like he’s trying to hold back his tears. “i just…i didn’t think i was deserving of a gift from you. thank you. i like it.”

you stand awkwardly, shifting your weight onto your other foot. “yeah, well…”

“can you help me put it on?” he asks, sitting at the edge of your unmade bed.

you feel your body heat up. part of you screams for you to stop. you shouldn’t do that. it’s far too intimate and you two are broken up. you’ve never been good at making decisions, though, so you sit next to him and feel the mattress dip.

he gives you a grateful look, one that you willfully ignore, and gives you his wrist. you clasp the bracelet on, fingertips just barely grazing his skin. your heart skips a beat and you have to inhale sharply before pulling away.

“thank you,” he whispers.

december 23rd is a sore reminder that life goes on. you had half-expected something to spark between you and megumi. perhaps he’d beg for you back, or maybe with less wishful thinking, he’d give you his real reason as to why he doesn’t want you anymore.

“i don’t think we need to go anymore,” megumi says when you come out of the bathroom after freshening up.

“huh? why not?”

“there’s nothing out there.” megumi’s voice is flat.

“i know, but we’ll get in trouble if we…”

“gojo probably sent us out here for fun.”

your lips part. megumi turns to you with a slight frown.

“don’t you think so too?” he asks, but you know it isn’t a question he’s looking to find an answer to. “why would the higher-ups assign a mission like this to a special grade sorcerer and a grade 1 sorcerer? if they needed that much manpower, this mission would’ve been deadlier. instead, we’re playing cleanup crew.”

“yeah, but..” you trail off, unable to think of a statement to refute his words. “if we go back now, we’ll get chewed out.”

“it’s just a scolding. you’ll be fine.” megumi stands up and stretches his arms.

you watch him cautiously as he begins to fold his clothes and throw them into his duffel bag. he doesn’t say anything else, letting the silence overtake the room.

“...are we leaving, then?” you ask meekly, not bothering to hide the slight quiver in your voice.

he pauses slightly. “do you want to stay here until christmas? this mission is stupid and you know it. there’s no point.”

why is his tone so cold all of the sudden? it’s as if you two hadn’t shared a moment last night before bed. does your gift not mean anything to him now that he’s cleared his mind with a good rest?

your eyes flicker to his wrist. the gold glimmers underneath the light and you realize that megumi doesn’t seem to hate wearing it. so why is he acting so … unpleasant?

you feel a lump in your throat. it’s embarrassing how quickly he’s able to upset you from just the tone of his voice. even his body language, usually fluid and smooth, is rigid with your presence. you want to tell him that you’ve enjoyed your time with him. you want to shake his shoulders and tell him that if you two cut your mission short, you might not get another chance to be near him again.

“do you still care about me?” you whisper instead.

he stills completely. “what?”

“this entire time,” you begin shakily, “you’ve been nice to me. you treat me like you always do. you’re always hovering over me even though you pretend you aren’t! you obviously still care, megumi.”

his adam's apple bobs as swallows. a beat of silence. then two. then three.

“i do care,” he admits sorely.

“then why did you break up with me?” you blurt. there it is, the question you’ve been meaning to ask. you both had seen it coming.

“because…” megumi winces as if he’s the one getting hurt from the ordeal. “because you deserve someone that’s normal. someone that isn’t a sorcerer. i can’t give you that life.”

you feel your chest swarm with anger. why does he always think he needs to sabotage himself to make others happy? this is something you’ve tried working with him on, but it seems like old habits are hard to kill off, just like your habit of loving him.

“why the hell would you decide that for me? when did i ever say i wanted a normal life?” you snap. your hands clench at your sides.

“it’s too early for this,” he says, his voice straining as he finally musters up the strength to look at you in your eyes.

“tell me, megumi. if that’s the real reason, then that is the most pathetic excuse for a breakup i've ever heard.” your voice cracks and you gulp down the oncoming sob that’s threatening to explode from your throat.

he inhales slowly and makes his way to you, holding you close against his chest. you should push him away, but you would rather let him hug you. you know that you can’t fight him, anyway.

“you…once said you wanted a regular relationship. when you got hurt a few weeks ago, i realized i couldn’t be that for you,” he confesses lowly. “i knew that you’d never find it in yourself to leave, so i figured i should just let you go for your sa–”

“are you kidding me?” you shout incredulously. “i said that when i was fifteen, megumi! before i even knew what being in love was like!”

he flinches against you. “but i…”

“you and your damn savior complex! i don’t need to be in a regular, normal relationship! i don’t need any of that, megumi! i’m a sorcerer, I won't ever get to be normal! in fact, it’s even better that i’m with you because you at least know what this life is like, you idiot! you’re always ruining the good things in your life because you—”

he takes his fingers to grab your chin and he pulls you in for a kiss. if the kiss is a ploy to shut you up, you hate to admit that it’s working. his tongue slips into your mouth and you melt against him. your arms loop around his neck as you desperately drag him down closer to your body. his hand grip your waist while the other clings to the small of your back.

you whimper out of instinct and he pulls away, lips bruised and breathless. it’s been so long since you’ve tasted him and you frown, tiptoeing to capture his lips again. you need to savor him, to feel him lips against yours again.

“baby, wait.” his chest heaves as he looks down at you. “don’t…don’t do this to me.”

“do what?” you ask, an edge to your voice. did he just reject you? even after all that?

“w-we gotta report back to—”

“we’re supposed to leave tomorrow,” you interrupt.

the gears shift in his head. “fine, but—”

“i’m still really fucking mad, but i just need you to kiss me right now,” you whine impatiently.

all megumi does is laugh when he swoops down to press his lips against yours.

it’s december 24th when you two find yourselves in satoru’s office. steam is practically rising from your ears as you try to compose yourself in front of your former teacher.

“... i wanted a wedding invitation.” satoru shrugs.

“you set us up!” you whine angrily. “gojo, are you serious?! isn’t this a little immature?”

megumi stays silent, averting his gaze. he suddenly finds the succulents on satoru’s desk very interesting. he’s never noticed that they’re all nearly dead! how cool.

your eyes shoot daggers at megumi's silence.

"we aren't gonna get married any time soon..." megumi mutters when he feels your pointy glare on him.

satoru raises his hands in mock surrender. “you two can’t blame me! it worked out! you two are back together now, right?”

“but did you have to make us look like fools out there?” you groan.

“you should’ve figured it out on the first day that the mission was a sham!” satoru exclaims, offense taking over his features.

“but still!” you’re borderline hysterical at this point, unable to believe that your former teacher of all people had to set up an entire fake mission so that you and your ex could talk your feelings out. “we would’ve figured ourselves out sooner or later!”

megumi nods. he feels like he should at least give you a little support even if he’s embarrassed out of his mind.

“oh really?” satoru’s voice drips with sarcasm. “you guys should be thanking me—”

“you’re so not getting an invitation to our wedding!” you grumble.

“wha—hey! i’m the one that got you two back together! besides, i’m megumi’s guardian! you can’t just not invite me.”

“watch me!”

“megumi, tell her that she can’t do that—hey! where are you guys going? invite me, you rascals—why are you guys leaving? we aren’t done discussing this! megumi, don’t you dare take her side! she isn’t even your wife yet—don’t slam my door!”

[wolfy1298]

Don’t you ever wonder what kind of secrets and plot points Venti keeps hidden? He claims to be the weakest amongst the Seven-and that could be true given his whole 500 year slumber and poison and all- but he’s still a god. AND one of the original Seven. You gotta be good at SOMETHING to survive for this long…

He’s also the only archon so far that doesn’t have a second story quest so what is he hiding?! We have accounts of him literally shaping the land with ease from both the Golden Apple Archipelago events and his character stories. We know that he has close relationships with the Hexenzirkel and somehow managed to avoid conflict with them??? And there’s also the fact from the skyward sword series that he was originally a catalyst user before picking up the bow in honor of Amos. He’s pulling a Childe when it comes to weapons he currently uses and the ones he’s proficient in.

And don’t even get me started on his connection with Istharoth and Celestia! Mondstadt already has the Thousands Winds Temple AND the nameless island where both Venti and Istharoth were once worshipped. And from Before Sun and Moon, we know that the Thousand Winds (which Venti IS A PART OF) were once called the Thousand Winds of TIME, all of whom were created and controlled by Istharoth. AND THEN you have Venti suspiciously appearing in the right place at the right time again and again and again. He even self proclaimed knowing every song: past, present, and future. Hell he’s probably one of the only few beings in Teyvat who can naturally bypass Irminsul because of his songs: Nahida already shown it’s possible to save deleted info if rearranged into fiction so the same should work for songs and poetry. And there’s also what the hydro fungus in Nahida’s second story quest said about changing forms. That you need time for growth to occur. And Nahida - an ARCHON- had trouble maintaining her fungus form for even the short period of time. She was even told that to do so for longer, one would need to bypass time itself which is near impossible. AND YET VENTI CHANGED INTO THE FORM OF HIS FRIEND IMMEDIATELY AFTER RECEIVING HIS GNOSIS AND HAS YET TO CHANGE BACK OR TIRE FROM FATIGUE (as we know it). HOW STRONG IS HE. Sure, the yokai in Inazuma and Adepti in Liyue can all change into a human form, but we know in game that it takes a long time and steady energy to take on a human shape, and the Adepti all seem to have that ability naturally: there’s no bending the laws of nature if it’s already natural to them. So what’s Venti’s excuse?!

As for Celestia: there’s already written in the statue of Barbatos “the gateway to Celestia” and what not. And Khanreia! In the chasm AND in the Caribert quest, Barbatos and Mondstadt keep getting named dropped. According to Dainself, the city in the chasm is supposedly OLDER than Khanreia and possibly the Seven, yet BARBATOS of all beings is mentioned in the records you find??? And in Caribert, it’s a Mondstadtian woman who that one bloke had a child with. Never mind that Mondstadt is where Kaeya and Albedo - the two characters with confirmed Khanreian origins- end up! There’s also the fact that Khanreia seems to base its gods and names and whatever around Norse mythology….which has strong ties to GERMANIC HISTORY. WHICH MONDSTADT IS BASED OFF OF. And Enkanomiya, which was once ruled by Istaroth, is Greek origin. Suspicious considering all the connections to HERMES Venti keeps portraying. (And then there’s also a connection to all three places with the hexenzerkel with their Chinese names? Like I think I read somewhere that Alice is Aries(?)/Eris(?) and Nicole is actually Nike in the Chinese version? Which are very much based in Roman/Greek origins)

Oh and something I forgot to mention earlier with the whole Istharoth connection. Mondstadt’s saying “seeds of stories, brought by the wind, and cultivated through time”. SUSPICIOUS

Anyways, this has been my nonsensical Venti theory rant

And you’re stuck with me @worldsokayestmagicalgirl

[writingquestionsanswered]

What's "Filler" vs What's Relevant

Anonymous asked: How do you know when something is “filler” that needs to be deleted, or if it can be kept? I often see advice saying "your characters should talk about nothing but the plot... no frivolous banter or silly arguments, because it's useless, self-indulgent, filler-fluff." But then I watch or see things and it's like, hm... there sure are a lot of things happening here that aren't plot relevant, yet the audience adores it. For example, in a popular episode of Avatar: The Last Airbender, called "The Tales of Ba Sing Se," nothing relevant to the main plot (stopping Fire Lord Ozai) happens. Instead, characters shop and go to a spa, rebuild a zoo, and go on a date. Part of the episode is even dedicated to one character's running off after having a nightmare. Nothing that we learn or that happens in the episode is ever relevant again as far as I recall, yet 19 years later, people still talk about how much they love that episode. So, I’m really confused as to what counts as useless filler/fluff vs what's important information. How do you tell the difference?

[Ask edited for length...]

First, it's important to note that a Nickelodeon cartoon from twenty years ago is not a great measuring stick for how to write fiction in 2024. ATLA, from what I've heard, is an amazing TV show, full of heart and top-notch character development. But it was also a cartoon created for and written to be enjoyed by children as young as age seven (the low end of Nickelodeon's demographic at the time), so it was following different guidelines from what you'd be following if you're trying to write a short story, novella, or book.

Case in point, the ATLA episode "The Tales of Ba Sing Se" is what's known in television as a "vignette," which uses short, self-contained stories unified by concept and theme to explore character relationships, growth, world-building, and to expand on themes that are important to the overall story. So, while the episode may not have contained plot-relevant elements, as get a glimpse into the minutiae of the characters' daily lives in Ba Sing Se, the characters and their relationships are still pushed forward, even if in only the tiniest ways.

And, again, this is a TV show with 61 episodes, not a short story, novel, or book, all of which are structured differently than a TV show.

On the Subject of "Fluff"

I want to be clear about the fact that if you're writing fan-fiction, fluff is just fine. And even if you're writing original fiction, you can get away with a little bit of fluff... you just need to be clever about it...

Filler, Fluff, or Relevant?

If something is absolutely necessary to move the story forward or understand it, it's plot relevant.

If something doesn't move the story forward and isn't critical to the reader's understanding of the story, but it helps them understand the characters or world in a way they didn't before, it's probably fluff that's been dressed up in a plot relevant costume. (That's the "you need to be clever about it" bit from above, which we'll get to in a second...)

If something isn't necessary to move the story forward or understand it, and it doesn't add anything to the reader's understanding of the characters or world, it's filler. It's just words on a page that serve no purpose, and it should be cut.

On the Subject of "Moving the Story Forward"

To clarify, in case anyone is wondering, "moving the story forward" means advancing the plot from one scene to the next scene. In other words, to use The Hunger Games as an example, Prim's name being drawn in the Reaping moves the story forward, because it forces Katniss to volunteer in her place. It moves the story from Katniss being a bystander at the Reaping to being a tribute. Another example, using Twilight, when Tyler's van skids into the parking lot and almost smashed into Bella, it forces Edward to use his otherworldly vampire strength to save her, which confirms in her mind that he's not human. It moves the story from Bella being curious about this weird boy at school to realizing he is something else and wanting to know more.

Dressing Up Fluff to Make it Relevant

Let's say you're writing a story about a young woman who stayed in her small town and went to community college while her high school besties went off to a college she couldn't afford, and now they've returned and she's trying to maintain these important friendships while struggling with feelings of resentment, jealousy, and feeling left behind.

Now, let's also say you have an idea for a really cute scene where your protagonist and one of these friends goes to a museum together for an afternoon. And as it stands, nothing plot relevant happens in this scene and it doesn't add anything to the reader's understanding of the characters or world. It's just something silly and fun you think would be cute in your story. How can you turn it from fluff to relevant?

To start with, look at your character's internal conflict... wanting to maintain the friendship while struggling with jealousy and feeling left behind. What could happen in the museum that could play on that? Maybe they stop in front of a reproduction of the Venus de Milo and the friend starts talking about the semester abroad she and the other friends did in Paris. This is a perfect place to explore the protagonist's feelings of jealousy and being left behind. If the character talks about her thoughts and feelings in that moment, either inside her head or with the friend, it gives you a chance to expand upon these feelings, explore why they're happening, and even to add further conflict. Maybe she confronts the friend and it doesn't go over well. Or, maybe she lies about something to feel better about herself, and that creates problems later.

Another option would be to look at the next plot point that needs to happen. Is there some way this scene can be used as a stepping stone between two existing scenes? Could something be added to this scene that raises the stakes or or makes the next scene more interesting?

While I'm sure there are some scenes you just can't make relevant no matter how hard you try, usually you can find a way if you just take the time to brainstorm and try out different ideas.

One Last Note...

On the rare occasion you end up with a fluff scene that has no relevance and can't be made to have relevance no matter how hard you try, write it anyway. Then, take it out, save it someplace safe, and hang onto it. These kinds of stories make GREAT incentives for things like newsletter sign-ups, subscription perks, web site bonuses, etc.

I hope that helps! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[mymarifae]

every time someone says "an should have been vbs's leader" or "saki should have been leo/need's leader" i want to . slam my head through concrete. oh you missed the point so bad

1. the "leader" thing is kind of really fucking insignificant outside of where each group's story begins and promo materials. it doesn't mean one character is the "main character" of the group. project sekai doesn't HAVE a main character in the first place it's not that kind of story. each individual character is equally important to not only their group's story but the over-arching story of the whole game

2. leo/need's story begins with ichika because she is ultimately the one that brings them all back together. not saki. it is ichika's determination and frankly stubbornness that gets through to shiho and honami. like, saki was literally ready to give up on reconnecting with honami! (out of love and respect for her choices but like) if she was the focus leo/need would have been honami-less!! but ichika refuses to let it go. much like she refused to let go of their friendships throughout all of middle school.

when the story begins, we see ichika burnt out and hopeless. but that's only after years of trying and trying and trying and trying again to reconnect with shiho and later honami. this fandom does not understand ichika's character well . she's not meek and she doesn't back down easily she's not some like... fumbling "girlflop" she's incredibly driven and strong-willed. she lost some of that due to depression and isolation but as of leo/need's most recent arc ender she has pretty much regained her fiery spirit. she's leo/need's lead singer and MC for a reason

3. vivid bad squad's story opens with kohane because she's the only one who hasn't grown up/partially grown up on vivid street. if an or akito had been the "leader" we would have lost the magic of getting to know vivid street and its people and unique culture. it's all average every day life for them, but kohane is experiencing it all for the first time. it's only through her eyes that the audience can understand just how very special vivid street is

4. one more thing: you could say that the "leaders" represent the themes of each group and the general direction of their story arcs. vivid bad squad, among several other things, is all about improvement and growth and overcoming challenges and creating something new and finding a place to call home within a community. who better to represent that but the socially anxious newbie who never felt like she belongs anywhere and would never do anything with her life?

leo/need is about love and the ability to endure all hardships and preserve that love . it's about having a heart big enough to hope for the impossible and the willpower to make it reality. ichika, in all her hard-headed stubborn painfully persistent glory, is perfect for that.

similarly, mafuyu isn't nightcord's leader because nightcord is ultimately about healing. hope. finding a way to make life worth living again. these aren't paths he would have chosen on his own. he gave up on himself a long time ago. as did ena and mizuki, in their own ways. the best person to represent hope is the one who refuses to give up on anyone and stubbornly believes she can save them all

wonderlands x showtime is about moving forward to a brighter future and not letting the past keep you shackled in place. it's also about having lofty dreams and the selfishness to pursue those dreams. both of these things are why emu Isn't wxs's leader; she lacks that selfishness (i'm not using this word in a negative sense btw; i think being selfish can be a good thing. and sometimes being selfless is a bad one) tsukasa (and rui) has, and she often clings to the past.

and as far as more more jump and all their own themes of hope and never giving up go, of course their leader has to be minori. she brought three disillusioned, jaded ex-idols hope and reignited their passion! she's the walking embodiment of hope itself

[blueepink07]

Yuno: her struggling relationship with autonomy

(character analysis)

One aspect I have always loved about media characters is their attempt to be perceived as mature, despite their young age. Some succeed, others struggle to hide what they see as their childish side.

Yuno is no different in this context and I'm surprised that people don't talk about it enough.

Beginning with her age 18, it's truly a controversial age, if I may say. It's a confusing age, because you are technically considered an adult, but, at the same time, your mind is not fully developed to actually be one. In the end, you are still a child at heart and mind, despite the fact that you are legally an adult.

We don't know much of her home life and honestly I don't think it would do any good for me to make assumptions, since it's pointless in the long run and it would just lose credibility. However, one thing it's for sure based on Yuno's actions. She desires autonomy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

I'm the one who chose, let you and you and you all in ~🎵

She highlights quite a lot with these phrases… She chose for herself, she is an adult who willingly decided to partake in compensated dating. Being called naive or innocent, two words that usually are used to describe little children, surely infuriated her… and she shows it.

It's funny now that I think about it. Fuuta also has the same problem, but his reactions are more childish, in the end, not doing him any justice. However, Yuno is no different. Of course, she does it in a more subtle manner, but she really does get worked up quite a lot when it comes to her being perceived more as a teenager than an adult. Her whole song it's literally about this idea. Yuno being infuriated that she is infantilized by the audience, making a sad backstory for her so they can dismiss the idea that there wasn't necessarily a big factor that provoked her to partake in compensated dating, but it's only her own free will.

I might add that the compensated dating itself is a way for Yuno to feel that she has more autonomy and she no longer needs to be treated as a child.

"An adult is a human or other animal that has reached full growth.[1] The biological definition of the word means an animal reaching sexual maturity and thus capable of reproduction." ~ wikipedia

Moreover, even the media promotes the fact that sexual content should strictly be watched by adults. And Yuno does end up having sex during some of these dates…

And if this idea isn't convincing enough… I think that Yuno likes to partake in compensated dating, because she knows the clients don't consider her a child. They are interested in her, in a way that makes Yuno feel satisfied with herself (at least, for a short period of time, when she is in their presence) she feels grown up and mature. She also receives money for her services, providing her with enough financial resources for Yuno to consider that she finally managed to complete one of the first steps of adulthood, to be financially stable.

Doing something that is not really socially accepted, again, can be considered as autonomy, because you do not follow the same rules that the society obligs. Yuno knows how compensated dating is perceived, but she still does it, because she thinks this action provides her "warmth".

The "warmth" that Yuno speaks about is a vague term to describe her desires. Based on her interactions, I would like to think that this term refers to genuineness and mutual understanding. Yuno, in the first VD, describes the society as being a place where "everyone eats each other". People need to point fingers at others who made a mistake, who did something that's not socially accepted to make themselves feel better.

Yuno: That’s right. You know those people who just wanna convince themselves, so they intrude in other people’s affairs even though it’s not their place—I despise them. That’s what I was saying. They only do that to make themselves feel better, don’t they? Those people don’t actually end up doing anything.

And you know what is interesting? The fact that Yuno finds more closure being in the company of some murderers. Why? Because they can also be considered some outcasts of the society that she pretty much dislikes.

Es: However, it also explains why you’ve given up. About yourself, human beings, even the whole of society, you’ve realised everything—that’s why your expression is so cold.

Teenagers usually have little power in our society. They can achieve great things, but have to go through more hardships due to the limited freedom. They need an adult to actually help them. That’s just how society is built.

Yuno's distaste for the society can explain why she has grown so fast, or, at least, thinks that she has matured enough. She was tired of the society inflicting on her rules that she, as a simple teenager, had to oblige. So, going into Milgram, starting to hear people crafting a sob backstory for Yuno, treating her like a child, despite the fact she has already done a few steps in order to sustain herself financially and emotionally as a young adult, it's truly insulting.

Es: This is just popular belief, but the law is also something the people have decided. There’s nothing, which can satisfy every single human being, now is there?

Yuno: That’s right.

However, even after all these, that doesn't mean she doesn't actually struggle with this new found autonomy that she craves.

I actually think that this autonomy is the cause of most of her suffering.

As I stated before, compensated dating is something that she decided to partake in, in order to prove her independence. She thinks that what she has chosen for herself is healing, helping her. But, if it's that the case, then why do we have these scenes?

It's difficult to admit that one of your decisions was actually… Quite wrong. Especially, when it's one of your first one's as an official adult, in the very first stage of your life when you finally have enough independence.

“Cognitive dissonance is what we feel when the self-concept — I’m smart, I’m kind, I’m convinced this belief is true — is threatened by evidence that we did something that wasn’t smart, that we did something that hurt another person, that the belief isn’t true,” said Carol Tavris, a co-author of the book “Mistakes Were Made (But Not by Me).”

She added that cognitive dissonance threatened our sense of self.

To reduce dissonance, we have to modify the self-concept or accept the evidence,” Ms. Tavris said. “Guess which route people prefer?”

So which one does Yuno prefer? To convince herself that what she is doing makes her happy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

Yuno: I’m not pitiable. My family gets along super well. And I’m not particularly struggling for money. I decided, of my own free will, to do it because I felt that it was necessary for me.

Sometimes, considering how many times she mentions it, for me it feels like Yuno tries to convince herself that what she is doing is good for her.

But you know what is funny to me?

She is good at making herself enjoyable for others as well as giving somewhat good advice:

Mahiru: My birthday…… the day I was born……But was there really any reason for me being born? Lately I’ve started to wonder that. Do you ever think about stuff like that, Yuno-chan?

Yuno: Eh? Not really. I mean, Mahiru-san, you’re really the romantic type, right? Not that I have anything against that. But isn’t it a bit much to think that everything in life has a meaning? If it makes you happy to think like that then go ahead, but if it doesn’t, then isn’t that in itself meaningless?

Mahiru: : ……you might be right. I’ve always just lived my life like this, so I don’t really know.

Yuno: We’ve all just gone through a bunch of things in life that happened to lead us here. It’s nothing more than a coincidence. Definitely not fate or anything. Probably. Even if there isn’t a meaning, you can still be happy that it’s your birthday. That sort of thing’s all you need in life really. So happy birthday, Mahiru-san.

Mahiru: ……no, I’m fine. As long as I don’t move too much I don’t even feel any pain. Sorry for making you worry.

Yuno: Oh, really? That’s good then. Mahiru-san, if there’s anything you want then just ask. It’s not like it’s a huge burden, I can just ask for it along with my own stuff.

Mahiru: Ok…… I’m fine for now. Sorry, for making you worry. Ah, Yuno-chan…… Today’s your birthday, right? Happy birthday.

Yuno: …Haha, thanks. Thank you, but y’know. Is it really ok for you to be saying that to me when you’re in that situation?... you really aren’t suited for Milgram, huh, Mahiru-san.

Amane: What is it… Kashiki Yuno. Don’t sit so close to me. Go away.

Yuno: Sorry for barging in when you’re getting into your worldview thing. But Mahiru-san’s finally managed to get to sleep. Humour me with some small talk while I take a break. By the way, Amane. Have you ever wished you were never born? I’ve thankfully lived a pretty fun life so far, so haven’t really. But you seem to be struggling with something. So I kinda wondered if you thought like that.

Amane: ……I don’t think that. Being born into this world is the first miracle any person experiences, and is something to celebrate. Even if after birth I was put through trial after trial, the value of that will never disappear.

Yuno: Hmm. Ok…happy birthday, then. It’s good that you were brought into the world, I guess.

But Yuno has a big, and I mean a BIG tendency to self-destruct, not intentionally.

Wanting to be independent comes with its own downfalls. At the beginning of the trial, Jackalope states that Yuno has distanced herself from social interactions. So much so, that we have never seen her actually confiding to someone else, in any of the portal timeline translations. She might have her reasons, either minimizing her problems, and using her energy to help the ones she deems to have worse than her, or, this is simply her nature to bottle up her own sadness. This again might also be the cause of her wanting autonomy and proving to herself and others that she is mature enough to manage her emotions.

Not confiding in someone else for a long time can cause depression. Something that Yuno might be struggling with during trial 3 or she is already struggling with it a bit.

Furthermore, it's interesting that Yuno admits disliking behaviors that she deems childish. For example, she doesn't like the way Haruka and Muu behave, because they are ignorant of the problems in prison and have a really childish way of thinking. Amane's hate towards Shidou, might be often wrongly interpreted as a simple child's tantrum. Kotoko's actions, responding with violence to violence, it's again, an aspect often deemed as childish and immature.

Yuno: Really? If you ask me, Kotoko is someone I would never want to make my friend, though. She’s the type who picks a conclusion from the very beginning and won’t actually talk with you.

Yuno: Well, I guess it’s arbitrary who one gets along with. But Mahiru-san in particular is something. I think both her body and mind are at their limits. Also, Mikoto-san was also attacked but apparently it ended up in something of a draw. That guy was strong, huh—how unexpected. Also Haruka and Muu-chan have become kind of bothersome. And additionally, Amane-chan and Shidou-san too, huh.

Lastly, her second MV also shows her desire of autonomy in Milgram, not only through lyrics, but through visuals too.

Beginning with her door, it looks a lot like a medieval castle door.

Her room, the way it is designed, especially the bed and the chair, also resemble a princess' room.

However:

Despite the important role that princesses played in courtly life, they had limited personal freedom. They were often kept under close guard and were rarely allowed to leave the palace or castle where they lived. This was done to protect them from danger and to prevent them from engaging in political activities that might undermine the authority of the king or prince.

Medieval princesses had little to no autonomy most of the time. Their life was dictated from the start, having the only purpose to be betrothed and give birth to children.

That’s why the design choice is intentional. Yuno feels like a princess trapped in her pretty room (the MV is quite claustrophobic, the only outside elements being a few memories), exposed to the world (the many windows imply this), the voices that keep demonizing her.

That’s why the scene where she starts breaking things in her room is so important. It serves as a sign of rebellion, to show that she is not the perfect, helpless princess that people like to portray her as. She is an adult who makes bad or good decisions, who thinks for herself. She is proud of her autonomy and is tired of constantly proving to others that she is not capable of taking care of herself.

[bitter-hibiscus]

This is a very shallow analysis BUT most of my followers are Batman fans and not Green Arrow fans so it's still worth pointing it out:

YOU ARE WRONG ABOUT OLIVER QUEEN.

Oliver is NOT ABUSIVE !! Here's why!

We as a fandom talk a lot about core beliefs of the characters (because DC writers can't do their job right) but here's the thing about Oliver: changing constantly is his core trait. Oliver isn't like Superman, who is inherently a good person since the beginning of forever. He's not like Batman, who figured out how to turn his pain into something that can help people. Green Arrow's story is about evolving as a person. It's about learning from your mistakes and doing better.

Oliver starts his story as a complete douche. Seriously. Just read Green Arrow: Year One and you'll get what I mean. He doesn't care about people, or politics, or even his own life, really. But being stuck in that island changes him to his core. He feels first hand what happens when you don't have people around to give a shit about you. He understands the need for community only after he loses his'. He understands the need for growth and kindness with time. And he keeps re-learning it.

In Snowbirds Don't Fly, which is essentially the only thing that makes non-GA fans think Oliver is abusive, there's three main horrible things Ollie does: He leaves Roy alone for months to travel with Hal, he slaps Roy, and he kicks Roy out. Those are, obviously, bad.

But here's the thing: Oliver learns. After Roy gets sober, especially after Lian comes around, Oliver earns Roy's forgiveness by being better. He starts vocalizing his lofe for Roy, he makes an effort to be involved in Roy's life. He's supportive and helpful when Roy needs him. Oliver learns to be there for Roy. He regrets kicking Roy out and hitting him, and is very explicitly grateful that Roy is a stronger man than he is, that he was able to pull himself together without Ollie.

Most Batman fans (and I myself am guilty of this) expect characters to never change, ever, because we're used to the Batman mythos, which can only exist if Bruce stays the same forever. But that’s not Ollie, and it will never be, because Ollie needs to grow in order to be written well. If he stays stuck in his ways and doesn't learn from being called the fuck out (even if he gets offended) then that's just not a well-written Oliver Queen.