#you know when the fundamental character moment is the one where they die? so you like celebrate their death? yeah

[pulchrasilva]

I am soo mentally ill about marisa coulter you don't understand

[raayllum]

She Must Pay the Price, or A Drop of Mercy :: A Rayla and Leola Meta

Quick:

You're a young elven girl, and you show mercy and compassion to a human that you definitely weren't supposed to. When it's found out, you're punished, with elves even calling for your execution (6x09, book 1 novelization). Your father does what he can, but there's only so much. You're put on trial. You're found guilty regardless of intent, and only by association. You die for this; you die for them. You're a star. A guiding light. There's even a Great Fall off a precipice (though only one of you hits the ground).

Your name is Leola, or Rayla.

You're the beginning and the end, respectively.

So let's talk about it.

Tests of Love

For years, I had wondered where Aaravos' assessment of "Those who fail tests of love are simple animals. They deserve to be motivated by fear" (2x09) came from, cause you don't drop in a line like that if it's not going somewhere. It's quite a statement and worldview, after all. Now, with Leola's trial, it seems we know.

We can see, then, perhaps that Leola's gift giving was the first test of love — are you willing to break the Natural Law, the Natural Order of things? — to help another? To show another a source of power in order to share, to be compassionate, and in Rayla's case, to be merciful (though we'll get more to that in a minute).

We also know that the love Leola had was powerful and all encompassing:

She didn't care to follow the order set in the stars. Though she was born an immortal being from the Heavens, she loved this world... and all its flaws. Her heart was warm and open.

And she befriended mortals. Animals, elves... and humans.

ETHARI: Who I love, where I love, what I love, are all specific. But to Runaan and those like your parents... love is rooted in all families, all creatures. Souls like that feel called to protect everyone as fiercely as those they hold close. (Bloodmoon Huntress)

Okay, so Leola and Rayla both have big compassionate hearts and befriend creatures from all over the place. So what? So do Callum, Ezran, Soren, and most of our other main good guy characters. Even Claudia to a degree (though she could work on not using magical creatures for spell parts).

Well, specifically, it's because of how they intersect currently more with anyone else on the concept of

Mercy

KOSMO: Daughter of the Moon, yours is a wondrous heart. In a moment of mercy, you sent ripples out into the ocean of time. Ripples that have not yet stilled. (6x05)

Rayla sparing Marcos, as noted in multiple interviews by the creators and by myself in previous metas, is ultimately the inciting incident / lynchpin of the entire series. Without it, there would've been no soulfang proposal or Ez running away to find the egg or any of the number of other elements that had to come together to make achieving peace possible.

While we still have details to discover regarding Aaravos' Fall and development of dark magic, we know that a lack of mercy was ultimately what sent him on his path of vengeance. Leola was not shown mercy, and while it seems there were already "flaws" for an imperfect world, things were (probably) better than they currently are in Xadia in a variety of ways. Then, to kick off the entire Saga, we have Rayla sparing Marcos in a soundtrack literally titled "Mercy" and have Kosmo, seasons and seasons later, spell out directly what a big deal this was for well, the ocean of time.

None of this is to say Rayla can't act out of revenge — she did ("when I first came here, I was on a mission for revenge") and she has ("but I became so obsessed with revenge"), much like Aaravos ("he isn't doing anything out of love, he's doing it for revenge") — but that her general compassion and love for others has always been stronger than her grief or rage, and that even when she had every social and personal reason to, she was and is fundamentally unable to hurt someone innocent.

Even when she's shamed or punished for it by herself or by others. RAYLA: The human looked up at me, and I saw the fear in his eyes. RUNAAN: Of course he was afraid, but you a job to do! (1x01)

EZRAN: Yeah, but then you saw he was scared, and you knew he was a person, just like you. RAYLA: That shouldn't have mattered. I had a job to do. (1x08)

The Cosmic Council — and to a degree, the Silvergrove — say that the reasonings or motivations, the intentions, behind Leola and Rayla's actions do not and should not matter when it comes out to doling 'Justice'. So Leola faces her justice, being literally killed in the one manner that can kill a Startouch elf, and so does Rayla, being metaphorically Ghosted / 'murdered' by her community, regardless.

Neither are enough to ultimately quell their light or their love/power, however.

A Star

RAYLA: That beautiful shining star you just pointed out? We call it Leola's Last Wish. (5x02)

So both Leola and Rayla are stars in season 6, literally and metaphorically respectively. Leola's is more self-explanatory, whereas Rayla's is mostly about the role she has in Callum's life as a guiding light and star. I don't think it's a coincidence, though, that just as Rayla placed Callum on his path of being a primal mage, though, that Leola did the same for humanity. I also don't think it's a coincidence that Callum's love for Rayla restores Callum's own light and agency amid Leola giving humanity the same through light and fire.

It happened long ago, when humans had only just learned to hold fire in their hands without burning. They nurtured their precious primal flames secretly—in the dark of night, beneath shadows and shrouds—as cultivating its glow drew the eyes and ire of monsters. Eventually, for the audacity of their fire, they were hunted, and—though they looked to the stars for salvation—the stars, too, looked down upon them with disdain. Humanity had been given something it was never meant to have. (TDP shorts, Ripples)

In this way, we see the manifestation of a repeating parallel of Rayla representing Leola, a gift giver of life, magic, light, unjustly punished/killed, and Callum representing humanity, looking to the kindest brightest star for guidance, magic, restoration, and salvation if he's just given the chance to grasp it. After all, presumably, Leola's last wish would have something to do with primal magic and humanity, and who represents that better than Callum, with two arcana under his belt and possibly more on the way? With that in mind, I want to return to another quote from earlier but with a different focus on

Ripples

Daughter of the Moon, yours is a wondrous heart. In a moment of mercy, you sent ripples out into the ocean of time. Ripples that have not yet stilled.

The wisest of the humans looked upon the water. His own reflection smiled back at him, and he dared to imagine what such power would feel like in his own hands, should he be allowed to hold it. Imagine, he thought, if I were more than what I am. With a trembling hand he touched the surface of the water. Ripples spread from his fingertips. [...] I hope the stars were watching. I hope they saw it: the moment their perfect reflections turned warped and ruined, churned to chaos by the touch of a single human hand. In this, the humans taught me another lesson. And so I touch the surface of the water. I watch the ripples spread.

Water in TDP is a strange beast, symbolically speaking. There are some more straight forward motifs (reflections, "don't try to control where the river [of life] goes, there's one thing you can know and control: yourself"). For Aaravos, it's connected to deep loss but also his own sense of patience in playing and winning his game, as illustrated above. For Rayla, it's linked to shame, self-reflection, bravery, and loss. Aaravos weeps and creates a sea upon losing Leola; Rayla says goodbye to her family by the lotus pond times three.

We don't know what water represents for Leola. Not distinctly, anyway. The best we can figure though, is that by following the through line of the Rayla and Leola parallels, that the ripples Leola wanted to send out or did send out — not the distortions caused by her father and his grief — are ones that Rayla received, and then continued.

Rayla has always been a foil to Aaravos, and this hasn't changed. She is the one who set Callum on the path initially of being a mage, which put him in Aaravos' machinations as prey; she retrieved his Key; and she's the reason Callum's done dark magic, twice. At the same time, much like the moon, Rayla carries Leola's light as much as she shoulders Aaravos' dark. She literally represents light in Callum's life, helps lead him through the darkness, and him being a primal mage and it's possible growth to other humans is the best possible thing that could've ever happened to Xadia.

Sol Regem says that "no one can save" Xadia or fix what is deeply broken. The Cosmic Council said that Leola had broken the Cosmic order and had to pay the price. Rayla has repeatedly been willing to pay the price for both hers and other's actions in hopes of making things right, of sparing others' pain. Sometimes to her detriment, but—if Rayla as Callum's one Truth could fix the darkness within him, if she's the lynchpin for breaking the Cycle, for bringing back Runaan and fixing her family's souls, in opposing and presenting mercy amid the Council's lack of mercy, in the face of Xadia's violence—

Then Rayla's act of mercy in 1x01, and potentially beyond in S7 with Callum, will be what fixes Xadia.

Leola's gift of magic is what 'broke' Xadia, and her execution is what literally did so, leading to the division of the continent. She wrongly paid the price in the absence of mercy and love. Rayla is therefore her thematic successor — welcomed this time as Light and Truth — as the carrier of Mercy and Love, and she will 'fix' Xadia through her ripples and dynamics. She will mend them back together. There will, at last, be no price to pay.

Misc. Thoughts / Predictions

One thing I was always curious about going forward into future seasons was the prospect of a 'trial' or reunification of the Silvergrove. It felt like a no-brainer the Silvergrove would have to change in order to reflect Runaan's character arc, much the way we see Katolis and the Sunfire elves change to better accommodate the new, more compassionate world order. Pre-S4 a trial felt a little strange as an idea, though post-S4 the parallels it could provide to the Lucia tribunal made more sense about why include either (or both).

However, Leola's trial seemed to hammer home the almost necessity (as this is still a prediction, after all, that may not happen) of Rayla and/or Runaan saying their peace to the Silvergrove leaders. This would be a great opportunity to provide a contrast to the Cosmic Council, reaffirming that Xadia is ultimately better than them because the Moonshadow elves and everyone else can change, and the Cosmic Council seemingly cannot or will not. But I guess we'll have to wait for S7 or beyond (#GiveUsTheSaga) to find out if this'll come to fruition or not.

I also wanted to touch on what we see with Leola ("I'm so scared!") and the repeated emphasis on "recognizing fear as a moment of empathy and personhood" and the horror that can come if you don't have that moment of recognition. This is something I've touched on before most notably as a striking difference between S1 Rayla and S5 Claudia, but I thought it was worth mentioning as S6 added to it specifically with Viren towards Soren and Lissa. This is another point in the "Rayla is an inversion of the Council's lack of mercy" column, as Leola's — a child's fear, and Aaravos willing to pay the price and take her place — earns her no mercy. Rayla, meanwhile, sees someone innocent that she has 'every right' to execute is afraid of her, and that strays her hand; it steadies her sword, and she spares him. Because if someone is afraid of you, it's worth asking yourself why, and what you might want to do instead.

Last but not least I wanted to talk about Leola's parallels to Callum and Ezran as well, since they are very much there (though yet not perhaps to the same extent).

Ezran has Leola's friendliness to animals and soft heart. He too is a child whose death is called for as a means of Justice, and he is granted mercy through Rayla and the discovery of the egg, able to live and grow and help usher in peace. He is, I think, what Leola might've been allowed to be if she'd lived in different times. Callum, meanwhile, carries the gift giving motif through his cube, staff, and tokens he both gives to (moon-phoenix bracelet) and receives (the moon opal necklace) from Rayla, and previous 'human-Leola' magic dynamic. Callum being able to break free fully from Aaravos' and dark magic's control in S7 and turn his eye instead to primal magic will be what helps bring true justice to Leola and hope for humanity / Xadia in righting the Cosmic Council's fundamental wrongdoing. Hopefully, anyway.

Conclusion

I hope you enjoyed this deep dive into some parallels and potential narrative goings-on between Leola and Rayla as characters. TDP loves its historical and ironic layers in TDP (Ez and the Orphan Queen, Viren's arc from S1 to S6) and I think this layered thematic dynamic between the two merciful young girls was a good, brilliant choice by the creative team. I'm excited to see where this thematic thread goes in the future and how it may continue to be woven into the story. As always, thank you for reading, and I'll see you in the next one.

[bloodscribed]

PROMPTS FROM VARIOUS LITERARY SOURCES.

I have not broken your heart — you have; and in breaking it, you have broken mine.

I cannot make you understand. I cannot make anyone understand what is happening inside me. I cannot even explain it to myself.

Since we're all going to die, it's obvious that when and how don't matter.

When life itself seems lunatic, who knows where the madness lies?

To dream the impossible dream, that is my quest.

When we set the carriage afire, her flesh will be roasted, her bones will be charred: she will die an agonizing death.

What isn't part of ourselves doesn't disturb us.

I have been and still am a seeker, but I have ceased to question stars and books; I have begun to listen to the teaching my blood whispers to me.

The bird fights its way out of the egg.

I have no right to call myself one who knows.

We who bore the mark might well be considered by the rest of the world as strange, even as insane and dangerous.

I have no idea whether parents can be of help, and I do not blame mine.

At one time I had given much thought to why men were so very rarely capable of living for an ideal. Now I saw that many, no, all men were capable of dying for one.

I will not make a gift of myself, I must be won.

Examine a person closely enough and you know more about him than he does himself.

One cannot apologize for something fundamental, and a child feels and knows this as well and as deeply as any sage.

The tree does not die. It waits.

Fate and character are different names for the same idea.

As soon as you trust yourself, you will know how to live.

A man sees in the world what he carries in his heart.

All theory is gray, my friend. But forever green is the tree of life.

I am not omniscient, but I know a lot.

Everything transitory is but an image.

One mind is enough for a thousand hands.

Man errs, till he has ceased to strive.

Words are mere sound and smoke, dimming the heavenly light.

But you will never know another's heart, unless you are prepared to give yours too.

The Devil's in the house and can't get out.

Men's wretchedness in soothe I so deplore.

To go wrong in one's own way is better than to go right in someone else's.

It takes something more than intelligence to act intelligently.

Your worst sin is that you have destroyed and betrayed yourself for nothing.

When reason fails, the devil helps!

A hundred suspicions don't make a proof.

The man who has a conscience suffers whilst acknowledging his sin. That is his punishment.

The fear of appearances is the first symptom of impotence.

Break what must be broken, once for all, that's all, and take the suffering on oneself.

Have you ever heard of 'a genius who had been stuffed and preserved'?

Every day I am fated to die.

All the activities of life seem unbearably dull to me and I have renounced them.

 If you would be nice to me, I would gladly die for you this moment.

Having made an utter failure of my life, I found myself one day in the midst of my poverty and wretchedness, thinking about the female companions of my youth.

So, surrender to sleep at last. What a misery, keeping watch through the night, wide awake -- you’ll soon come up from under all your troubles.

Man is the vainest of all creatures that have their being upon earth.

There is a time for making speeches, and a time for going to bed.

For there is nothing better in this world than that man and wife should be of one mind in a house.

I swear by the greatest, grimmest oath that binds the happy gods.

Few sons are the equals of their fathers; most fall short, all too few surpass them.

[blueskittlesart]

can we talk about how rauru is literally like. just zelda’s dad. like in that one scene where zelda looks like she’s gravely contemplating turning into a dragon and then rauru goes “i believe the answer lies in more research and understanding your power!” and she looks at him with such shock and awe. zelda’s adventures in the past are literally like her life but with a better dad. the queen promises her to help her figure out her power but dies before they can figure out a way how to use that power to safely save everyone. zelda desperately wants to help everyone and is clearly feeling the pressure of it all and the king is the one to tell her “hey i understand how hard you’re trying and how much you want to save everyone and we’re thankful for what you’re doing”. rauru actually acknowledges zelda’s dedication and the importance of research and technology, he is kind to her and never blames her for any of the bad things happening. he also never pushes zelda to make sacrifices and is the one sacrificing himself in the end - in botw, all the champions and zelda have to choose to make sacrifices to save the kingdom, but in totk rauru doesn’t ask that of any of the sages, instead recognizing his own responsibility as king and basically dying to save his kingdom. he’s literally zelda’s better dad.

same anon as the one raving about rauru also the differences between how the two kings treat link. they’re both tutorial figures but the way they guide is SO different. pretty much the first thing rhoam does is lie and pretend to be a random old man, being quite annoying as he sends link to do a bunch of challenges for a paraglider. the framing is so fundamentally different, rauru freely offers the information he has to link upfront, he apologises for the body modification, acknowledging link’s potential distress. rhoam basically keeps link on the plateau arbitrarily, presenting giving items and teaching link about things as challenges for link to overcome. rauru on the other hand aids link as best he can, tells him what he needs to do from the beginning (tells him to open the door which is pretty much the last thing he’ll need to do in the tutorial, telling him about the ultimate goal from the beginning), proposes solutions when it doesn’t work out (directs him to the shrines as a way to help him gain the strength he needs, as opposed to making him complete challenges to get a paraglider that in the moment seems like literally arbitrary conditions). rhoam telling link how much responsibility and pressure he has on him all of a sudden and how much he needs to do vs rauru telling link that it was wonderful to meet him and zelda’s accounts of him were all true. like. the framing. the difference in character. the deterioration of knowledge within hyrule falls parallel to the deterioration of its king’s kindness and virtue.

the differences between rauru and roham are crazy to me because one of them was so fundamentally good and one was so fundamentally flawed and yet. neither of them were able to save their kingdom. no matter how good a king of hyrule is, no matter what he gets right or wrong, he is still doomed to die. rhoam tried to sacrifice his daughter to keep hyrule alive. rauru did everything in his power to make sure she DIDNT have to be sacrificed. and in the end the outcome was the same. but the KINGS were not the same, and that difference in framing you mentioned i think is fundamentally a difference in legacy. rhoams legacy is to forever be the king who sacrificed children to save himself and died anyway. rhoam died a loser through and through, a king atop a throne of nothing but failure. i think that’s partially why he appears as an old man at first, because he KNOWS what being the king of hyrule means and he’s EMBARRASSED that his legacy is what it is. but rauru. in complete contrast, rauru was so GOOD. rauru died with his sages and his DAUGHTER alive to see another day. rauru ENSURED they’d live no matter what. he wouldn’t LET them sacrifice themselves for him. rauru put everyone else before himself. he didn’t expect or even tolerate self-sacrifice and yet when the time came he sacrificed HIMSELF selflessly despite knowing that it wouldn’t even WORK. rauru’s legacy is something to be proud of. he’s open to link because he has nothing TO hide. no regrets or stupid decisions. and he is remembered so much more favorably because of it.

[yuukei-yikes]

Long as hell text post under the cut my guys

me when i wake up and talk every day about the same shit. heart <3 i could talk for days abt jin and the misogyny he writes with. it's everywhere of course lol but out of the female characters takane's like…. the most tragic, in my opinion, because she's the only female character to have absolutely 0 backstory. yes, there's Some stuff, such as her illness, but truly takane does not have that much angst surrounding her illness. everything about her is rather about haruka. takane's moment is yuukei yesterday, but yuukei yesterday is entirely about both haruka and takane and their relationship. yes it's takane's pov, but it's ultimately still about… haruka, and how she feels about him.

back then in the fandom, pre over the dimension specifically, there was a take going around i remember pretty well. "people write haruka and takane like there's nothing more to them than being in love with each other" like the only time we'd see haruka and takane specifically (in fan content), they'd just be there to be shippy. i TOTALLY agreed with this sentiment and i always have, especially because i've always been obsessed with them as characters and i was overanalyzing every little thing (when otd came out i was over the moon bc i got so much stuff right btw. if u even care)

HOWEVER. if u think about it. pre over the dimension, with the manga having covered yuukei yesterday already and the next time takane (and haruka) appear as themselves in the manga is A LOT later in volume 10 (by that time, otd was already out) (also i'll get to takane in 2nd manga route in a second), so what we had at the time, for haruka and takane's backstory, was manga&novel yuukei yesterday and what we got from the anime. if you consider this… truly, at first the only thing to go off really was. just their relationship. that was all there was to both of them, because haruka was described from takane's pov, and everything we got from takane was how she felt for haruka. that was IT. for everything else u had to read between the lines like i was doing bc 10 years later i'd still be here talking about it teehee

of course there are also the songs. takane's songs set in time before she's ene are yuukei yesterday and of course headphone actor, one of the Best kagepro songs dont even come AT ME anyways headphone actor as a song touches THE OTHER BIG THING we were offered about takane at the time. okay, she isn't JUST in love with haruka. the other thing about takane is… she wants to SURVIVE!!!

i've talked about this LOADS of times i know (about this entire thing actually but i just like talking about also it's my blog) takane gets opening eyes because she's so determined to live. ratio + this from novel 2 headphone actor

which brings me to. ugh. second manga route. takane….would not…. KILL HERSELF…. second manga route WHY. we finally get to see Takane again in the manga and she's just so spectacularly NOT HERSELF it's crazy. takane since her INTRODUCTION is presented as "selfish" and how her want for attention from haruka or in general gets the best of her. that's ene. THAT'S ene!!! that's also why ENE stays with shintaro!!! it is FUNDAMENTAL to her character. we were given miserably little about her and in the most simplified way to put it, those things are: takane 1. is an attention whore<3 2. doesn't want to die. so tell me. how do you manage to get these 2 very simple things so incredibly WRONG in second manga route.

where in the world would takane get mad haruka got another friend. it makes NO sense!?!? bro haruka and shintaro ARE ALSO BEST FRIENDS IN THE MAIN ROUTE, where takane ACTUALLY HAS REASONS TO ACTIVELY REALLY DISLIKE SHINTARO, and she doesn't give a fuck that they're friends, why would she randomly care so much now when she has no reason to even dislike shintaro? so basically because she doesn't have ayano she gets jealous and wants haruka all to herself?? erm ok?? let's say that's true (it's not), even if she was jealous of shintaro her desire to be by haruka's side WILL be stronger, she would NEVER just turn around and leave. absolutely NOT. one of the stupidest things takane does is want haruka to look her way so bad she doesn't realize HE'S DYING ON HER. this bitch is so insanely self centered she would never in her life walk out on haruka just for having another friend. REAL takane walks in there with that stupid basket and be like Everyone look at me NOW<3

ok. first trait: attention whore: second manga route FAILS. second trait: doesn't want to die. wonder what second manga route will do. (looks into the camera) takane kills herself in second manga route.

dude you're crazy. you literally get EVERYTHING WRONG. it pisses me off. and not only does she kill herself but she does it because haruka DIED!?!?!?!?!? OH MY GOD. i hate it it's so fucking fake it's not HER THAT'S NOT TAKANE ENOMOTO THAT'S A SHIT CHARACTER JIN AND MAHIRO SATO DECIDED TO SUDDENLY WRITE INTO THE STORY i already put it in this post but let me attach it again

dear lord. anyways i've talked about that loads of times but i needed to include it in this talk cuz. yeah. i dont even HATE the rest of second manga route i just hate how takane is written specifically but since she's everything 2 me erm. you get my thumbs down!!! anyways having acknowledged second manga route we can move on.

back to main route discussion. so takane's backstory. not super deep, especially compared to other characters. yes her backstory is basically that she's sad because her boyfriend dies. but as ene there's so much more to unpack, right?! a character who will 100% accept a HALF DEATH because she's so determined not to die, but she's also mentioned to be tirelessly looking for her body because despite everything she's got HOPE? that's SUPER interesting, i love her!! what will she- *is obsessed with shintaro* ene's obsession with shintaro again ties in with everything else, desperate for attention, finds kinship with shintaro because she (or rather, ayano) decided he's compatible with her, but most importantly, he's doing badly and she wants to help him. takane isn't a person anymore, she's alive only as a technicality, so… she spends time with shintaro! but we ignore, it's TWO YEARS. and only in one of those she is with shintaro. we tend to overlook she spends the WHOLE TIME looking for her body in that other year. of course ene talks a lot about how much she loves her power, how much she loves being ene and not having to take care of her sick body but it's a REALITY that she wants to get it back. if she really didn't want it, why would she look for it and later get back into it when she does find it? but that's in between the lines. ene's obsession with shintaro is super interesting and you KNOW i love everything we know about takane be it her obsession with shintaro or her crush on haruka. i just wish there was....more.... like everyone else gets more! like HARUKA, a damn side character, gets more!!

haruka gets so SO much, he even bonds with SETO!! he gets a really well developed friendship with shintaro, he gets a very long detailed introduction scene with ayano with funny younger mekatrio shenanigans, he gets yuukei quartet hangout moments, he gets a GOOD RELATIONSHIP WITH KENJIROU (fundamental imo as he's very important both in general and haruka and takane's social circle back then) and not just all that, but super thoughtfully written feelings about his illness, views on life, wishes... and all takane's story gets is…. she's sick, but it's ok it's not deadly, HARUKA HOWEVER…. oh, HE'S the real delicate one….especially since she's in love with him ofcourse!! dont forget!! btw she's grumpy cuz of her illness. she wishes she just didn't need sleep. aaanywaaays did we mention it's not as important as haruka's illness and btw she's in love with him?

unlike haruka, takane gets no relationship with ayano, and all their interactions are talking about how in LOVE they are with haruka and shintaro. no relationship with kenjirou beyond comic relief of ugh useless ass teacher, even revealed later on she stays in the dark about kenjirou forcing them to participate in the festival ON PURPOSE and playing her like that so she would be determined and make haruka join. her dynamic to shintaro pre being ene is just pitiful, and if it wasn't for his behavior towards her shintaro would be…. erm normal?? yea he's cold to ayano but that vs the way he randomly treats takane without even knowing her. god. imagine kagepro where shintaro DIDN'T do that. he'd still be flawed and stuff like what was the need😭 like HUUHH. takane gets nothing!!!!! and if we're still on the shintaro subject, why she's the asshole for being a menace as ene? whatever. i support women's wrongs. bully him harder.

alright. later she's ene, bonds with the dan. wait!! look!! it's KANO!!! she has so much in common with him, to the point he chooses her to open up to and helps her get her body back!!! this is a GREAT character choice to pair her with and to develop a dynamic with!! uh. oh wait….. kano's just totally awful to her and then later leaves her to get her body back offscreen and on her own? (looks into the camera again)

to continue comparing haruka and takane. takane mentions grandma makes her lunch, grandpa is dead, and they're both SUPER worried about her illness. there's…. nothing about their personalities or their relationship to her. meanwhile, haruka mentions everything! he's all like my illness… when it killed my mother it was exactly when the doctors said it would. my dad is cold and a little strange and doesnt spend time at home. we have a live in helper who does chores. like that's already so much deeper!

u find out through another mention later on that takane's parents work overseas but you dont know ANYTHING else despite it being so specific. while haruka goes on about his relationship with his dad or rather lack of relationship, and there's even some stranger at home doing chores for him. and again HE GETS TO HAVE A CLOSE RELATIONSHIP WITH KENJIROU, heavily written as a father/son dynamic. man.

anyways…. this is kinda all over the place and it's something i talk about very often but teehee. wanted to do it again. i was thinking about it again because i realized i don't tend to draw haruka in a context outside being takane's boytoy. which i don't particularly care about because i know that's not all i see him as and i do see him as a deep character of his own and i like analyzing him just as much… it's just in art specifically he's just always there to be in love with her and nothing else. and i was like damn does that suck of me?? but you know what. i dont care<3 thanks for coming to my ted talk.

[saintsenara]

Sirius/Ginny? I mean, canon setting is 🫣, but an AU where Sirius lives or time travel AU?

thank you very much for the ask, anon!

i've had to hear a huge amount about sinevra [a hot ship name if ever there was one] over the past year or so because @whinlatter is a paid-up believer in its viability. and i must say...

i'm convinced.

the first thing to get out of the way is that ginny's clearly got a wee crush on dear ol' padfoot. she spends several of the scenes which take place in the summer of order of the phoenix trying her best to get his attention - albeit in a way which prompts visceral flashbacks to being fifteen - by showering his bff [crookshanks] with affection and doing all she can to seem cool and fun.

but when this initial mortification is out of the way, there are hints of a broader platonic compatibility [at least from ginny's perspective, sirius is undoubtedly hard-pressed to remember her name during the canon timeline] that could very easily transition into something romantic if an author so desires - particularly in a scenario where they've both survived the war.

which we can see most clearly in the aftermath of arthur weasley being attacked by nagini:

"Your father knew what he was getting into, and he won't thank you for messing things up for the Order!" said Sirius angrily in his turn. "This is how it is - this is why you're not in the Order - you don't understand - there are things worth dying for!" "Easy for you to say, stuck here!" bellowed Fred. "I don't see you risking your neck!" The little colour remaining in Sirius's face drained from it. He looked for a moment as though he would quite like to hit Fred, but when he spoke, it was in a voice of determined calm. "I know it's hard, but we've all got to act as though we don't know anything yet. We've got to stay put, at least until we hear from your mother, all right?" Fred and George still looked mutinous. Ginny, however, took a few steps over to the nearest chair and sank into it.

ginny's acquiescence to sirius' point-of-view - even though she begins the scene taking the same line as fred and george - is really quite striking.

because - of course - it's due to her respecting his authority [noteworthy enough, since sirius' obvious depression during his confinement in grimmauld place reduces his authority status in harry and hermione's eyes].

but it's also due to the fact that she's one of the few child characters who ever really seems to get this idea of there being things worth - collectively - dying for.

harry - however terrified he is of voldemort and however dangerous he considers his mission against him to be - still fundamentally sees defeating the dark lord as something which is his responsibility and his responsibility alone. while he's upset to be excluded from the order in order of the phoenix, he stops caring about its work the moment he knows about the prophecy. he's shocked to learn that he must die in deathly hallows not just because this is shocking full-stop, but because he's never envisioned a scenario where he isn't the person delivering voldemort's death blow.

the divide between harry [and ron and hermione, to some extent] and the rest of the order when it comes to what the war is and what it means is a really interesting thread to unravel in all sorts of pairings [romantic or not]. and it's particularly interesting when thinking about his relationship - again, romantic or not - with both sirius and ginny.

it's striking in canon that the order never really seem to understand voldemort as anything other than a terrorist - which is to say, they never understand the more mystical aspects to the war and, especially, to his obsession with harry.

[many of the death eaters seem to be the same.]

this is the case for sirius. it always stands out to me how his only response to harry telling him about the vision he had of nagini attacking arthur is to ask whether he's told dumbledore - which directly contributes to harry's unwillingness to keep him informed about his occlumency lessons. he is similarly disinclined to tell harry anything about the prophecy - he may want harry to be told more about the order's operations than molly does, but harry doesn't learn anything which actually ends up being useful to his own battle against voldemort from him.

ginny, in contrast, is someone harry deliberately keeps at arm's length from the mystical aspects of his mission [even though, based on what she says to him at dumbledore's funeral, she's grasped these a lot quicker than sirius].

she is reduced to trying to do what the order does - running the hogwarts outpost of a conventional resistance movement while harry goes on his horcrux hunt [something harry never seriously considers to be worthwhile; he treats the story of her attempting to steal the sword of gryffindor as though it was all a laugh], while undoubtedly knowing that her contribution to the cause is minimal.

there are a lot of parallels there with sirius' experience in order of the phoenix. his depression is exacerbated by a feeling of uselessness - the only contribution to the order's work which he understands as worthwhile is an active one; he doesn't see the domestic aspects of the order's mission as valuable and he doesn't realise that harry needs his emotional support in grappling with the mystical side of his connection to voldemort.

i am really compelled by the idea of sirius and ginny bonding over this experience of being peripheral to what the war actually ended up being about, especially because each of them could offer the other the recognition that they did the best they could with the information they had [an act of forgiveness i think they'd be unable to offer themselves]. and i am compelled by the idea of this turning into something more.

i also think ginny would love a motorcycle.

[ninja-confession-go]

I don't know if this has been discussed before, but the direction they've taken Zane's character always makes me a bit... sad? Zane was my absolute favorite character from the start, I even purchased that one old ass book from the pilots about him when it published. His characterization from S1-S3 was solid and consistent. I related to him greatly, and despite him being a nindroid, he was treated as just another person. Which is important for the message they where conveying at the time- that just because someone acts different, or is 'othered' doesn't mean you can strip them of their humanity. Of course, I was ecstatic that they brought him back after S3. But since then his character was never treated the same. More often than not he was the brunt of jokes that directly dehumanize him and they used his status as a nindroid to make him have quirks he previously didn't have just for the sake of comedy. Zane started to feel useless to me in terms of his contributions to the team and show.

Now, it wasn't that bad before March of the Oni, and don't EVEN get me started on how Zane says he deletes traumatic memories :(- which sure, it could be an explanation for the dramatic personality shifts he has. We got more of the original Zane in S8-S9, but right after that? He was a shell of his character. Ever since he became titanium, he was different, you can't simply die and come back without something changing. But I feel like they used that as an excuse to mold Zane into a role that they need for each subplot which makes him change his fundamentals at a moments notice. He's not consistent. At all. He's whimsical one moment, completely robotic the next, sasses people and understands sarcasm one moment, and completely derails everything due to him being a 'robot' the next. If it was a more linear transition, it'd be great. But they retcon everything about him every two seconds. It makes me sad, I guess. He could've been a much more solid, interesting character, if they made him stick to who he was more, y'know? So now he's no longer my favorite despite little me thinking he'd always be my favorite.

This is NOT a 'I miss the old ninja' post, by the way, just how they've written Zane as a whole is lacking. This isn't limited to Zane at all either, but he makes me the most sad. I could talk all day about Zane. But yeah, sorry for the long post!

.

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[bookshelfdreams]

Once again, as it so often is with ofmd, it is about violence.

Ed is capable of violence and it makes him feel monstrous. Killing his father was a defining moment in his life, something that became a core memory: The darkest, scariest part of himself, but also one that has protected him and been immensely useful. No matter how much he hurts himself with it, how much it chips away at his soul, he's willing and able to do horrible things. This is the price we pay for violence: When you kill, you die as well.

When he met Stede, a man he thinks is fundamentally incapable of the kind of violence that's slowly destroying Ed, it gave him hope that he, too, could move beyond it. That a life full of comfortable and beautiful things was not only possible but attainable; if Stede can sail the seas with his ridiculous toy ship full of books and soft fabrics, have a positive culture of open communication and constructive feedback, then fuck it, why can't he?

To him, Stede's incapability for violence is a positive thing; it might be Stede's greatest strength. But what Ed doesn't realize is that Stede's life, too has been profoundly shaped by violence, how intimately he is acquainted with it - from the other side. Stede has only ever been a victim of violence. Where the moments that replay in Ed's head (the lovely little motage at the beginning of 02x06 for example) are moments where he enacts violence, the moments that define Stede are ones where violence is done to him. We see him splattered with blood, picking flowers: we know what follows is humiliation, verbal and physical abuse, that Stede was unable to protect himself from.

So of course, to Stede, his lack of talent for violence becomes a character flaw. Something that makes him weak, pathetic, cowardly. When he finally learns how to wield violence, how to use it to protect himself and others, it's empowering. He revels in it, the small moments (I did a punch!) and the bigger ones. For the first time in all his life, he's not a victim anymore.

Ed does not know this about Stede. To him, Stede is fragile, someone not yet tainted by violence the way he is. Ed feels protective of Stede, and it's that perceived innocence that I think is a big part of it. All he sees is Stede descending down a path of violence and piracy he has walked already and cannot go down again; the last time he did, it literally made him suicidal. He can't follow, and he can't watch Stede destroy himself the way Ed did, either.

So he leaves.

And Stede, who feels like he has finally grown into a better, more capable version of himself, someone who is able to see hurt and fight back against it for once, doesn't understand this at all.

Both these viewpoints are ones that ofmd wants to validate: Violence is a terrible beast that will eat you whole and spit out your bones AND Violence is sometimes necessary, and even good. It's a delicate balance to keep, and 02x07 doesn't quite manage to do so. But despite the awkwardness, the bones are still there; we end on Roach and Fang (two characters very capable of and good at violence!) having their cute little self-care spa day. This is the future ofmd wants us to believe in: a world where we can chose care and tenderness over battles.

[vigarioamelia]

there are a lot of tragic characters in elden ring (pretty much everyone lol) but godwyn exudes a kind of Shakespearean tragedy that just makes me feel so bad for him

godwyn the... betrayed

do you guys remember that trend? jupiter was supposed to be a star but failed?

alexa, play the old doll audio

i'll be talking a lot about godwyn so uh big words trigger warning i guess

Godwyn the Golden, the first child of Godfrey and Queen Marika the Eternal and also the first Demigod known to ever perish.

He was the first descendant of the Golden Line and one of his traits is *literally* being friends with dragons.

Whenever he's mentioned, grief is involved. Both the grief of a Mother and the grief of the people.

He was part of the Golden Order, but we know for a fact he was no maniac for its fundamentals, given the genuine bond he had with Fortissax, for example.

I know we can't really Know this stuff but come on, Godwyn seemed like a certified Big Bro™. He gives the feeling of how pure a person should be. Royal blood – of the purest kind! From the lore we have of him, it appears that he really was The ideal prince.

I like to believe he was particularly fond of the Omen Twins and that, even though they grew up in completely opposite worlds from each other, he was always sort of There. Better than Marika, that's for sure. Just imagine big bro Godwyn taking his baby bros for a tour around the capital. They spend the entire day running around and Godwyn looks so peaceful that the twins can't help but feel that too, if only for a moment.

Not to mention the tender relationship he probably had with the cursed twins.

When Godwyn's spirit was slayed during the Night of the Black Knives, he received a fate worse than death itself: the curse of living in Death.

He who should be crowned golden as the Lord among them all was crowned in ruin as the Prince of Death.

Godwyn will not only never die, but he will never live again. His existence is a terror that punishes the roots of the Erdtree, a thing that not even Miquella was able to stop or help in any way.

This once sweet and kind and beautiful lord is now nothing but a creature spreading across the land.

When both Miquella and Fortissax failed to give him a proper death and rest, what then remained of his body was laid under the roots of the Erdtree. A bit fair, isn't it? First of the Demigod, ruined and buried under the Erdree, where he will slowly but certainly cause destruction and despair all across the land, bringing death to all it touches.

It kills me that the place where he's buried is so dark and lonely and scary. The Godwyn before the Rune of Death was assured to have dozens if not hundreds of statues and paintings and churches and whatever to honor him.

But Godwyn the Golden ceased to exist. There's no one left to adore or admire or cherish. The only thing left is Godwyn the Prince of Death.

He's now worshipped by the undead, Those Who Live in Death, as D calls them. Is there a more tragic end for a royal who was once beloved all across a golden capital?

The only way to change his fate is to make things even WORSE.

Restore the Elden Ring with the Rune of Death and he supposedly comes back again, but. Oh. My. Fucking. God. I would literally go fucking insane if I first opened my eyes to the world I cherished and grew up on completely destroyed by MYSELF without my damn consent.

If he became Prince of Death by his own choice? Fucking sexy. I would support him. SLAY (literally).

But this? My man was ROBBED.

Imagine being "reborn" (in death) and realizing that EVERYONE from your life is dead. The place where you ran around as a kid? Fucking demolished, DIRTY with ashes. ASHES OF DEAD PEOPLE.

AND YOU'RE THEIR MONARCH.

There's NOTHING to rule and most of all THERE'S NOTHING TO PROTECT.

Literally the worst thing that could happen to a dude.

look what the fuck they did to my baby holy shit there truly wasn't enough room for a blonde twink in the lands between was there

Ohh... Oh,  Lord Godwyn... Such cruelty, such humiliation... My poor, sweet lordling should have died a true death. As the first of the demigods to die. As a martyr to Destined Death. But why must it yet bring such disgrace? A scion of the golden bough, sentenced to live in Death...

i really only have two things left to say:

1. godwyn was too sexy to be in the game so miyazaki gave him the worst fate known to humanity (godhood?)

2. this happened to my buddy eric

[kerubimcrepin]

LIVEBLOG: Wakfu Season 4, Episode 13 [PART 1]

I wonder what Joris's opinion on Tristepin abandoning post is. It'e either "thank god I don't have two Iops to wrangle" or "well at least the the one that's less likely to be killed is here" or "FOR FUCK'S SAKE NOT THIS FUCKING GUY"

Stealth mission with an iop by your side sounds like a whole new type of hell on earth.

It's very brief, but at this moment (5:50 in the episode), we can see Joris and Goultard going up the stairs.

The demons in my head are, once again, telling me to keep screenshotting him.

Trying to get her out is a pretty delicate balance, considering his strength. Joris is probably quite aware of the possibility that he might accdentally hurt her.

There's no fucking way Joris doesn't want Goultard to die a gruesome, violent death.

He's imagining Goultard's face instead of the rock... Seething and malding in silence.

GET SCARED.

DIDN'T EVEN HAVE THE TIME TO DODGE. HEHEHEHE

at least he's a good teammate, when he's not calling Joris slurs as a joke.

Not him looking down at them. BITCH WORK!!

Once again, I am compelled to take screenshots. It cannot be helped.

I will be honest, the sudden influx of content where Joris and Goultard are portrayed as friends — like drinking together, or going on missions together — in the fandom has been very weird, because I think what became very clear in this season is that Goultard is an iop who treats people in an iop way (for iops it's just normal to roughouse each other) while Joris is a man who has been infantilized for 600 years, doesn't want to be friends with anyone except people who never question his intelligence (like Yugo and Amaliaa), and wants to kill himself whenever his height is pointed out. and also has 2 drinking buddies already (who shower him in praise at how righteous and heroic and smart he is).

Literally fundamentally incompatible personalities. Joris can barely stand to be here, and the only thing uniting them is "we're immortal and don't want the world to end". If he could, Joris would slip rat poison into whatever Goultard is eating or drinking — because he knows that while it will not kill him, it will make him feel Bad. 😭

Maybe I'm weird, but I don't really like it when characters' discomfort of being treated cruelly is taken as something cute or funny or a Friendship thing...

(Attention: I am not bashing anyone, but expressing my personal opinion)

DFGJSDFKLGHSDKJFGHDSFKJG

you can tell that Joris is not having a good time. he's at his fucking limit. first he let loose with a "if you only knew :) how many people :) have degraded me the same way :) for all my life :)" and now an explicit "SHUT THE FUCK UP!!!!!"

I really do think he's imagining Goultard's head here.

:)

As someone insane enough to have drawn maaany comparisons between Nora&Efrim and Joris this season, I think he has a soft spot for her by now. She's been through a lot...

And I think Joris understands what it's like, to feel guilty, because of something horrible happening — even if it's not necessarily your fault; besides that, I think they both have very closely matched temperaments — they're both introspective and a bit embittered.

In a kinder universe, Nora and Joris could have been besties. And Nora could have gone to his house for tea. The two of them could probably speak very quietly to one another about some interesting, sad things.

And then Kerubim could have a post-divorce stress disorder-related heart palpitations due to seeing a pink haired woman IRL inside his house unannounced.

Basically, I NEED NORA&JORIS FRIENDSHIP FANART HI?!

Basically: I have crazy levels of brainworms about this (and about Eva trying to sacrifice herself for her family, but there are so many screenshots in this post already...)

Of COURSE he'd stand guard for her.

I'm fucking CRAZY and INSANE.

HIS SMILE HERE!! HE'S SO PROUD OF HER!!! HE BELIEVES IN HER!!!!!!

[jewishregulus]

How do you headcanon regulus personality to be like? Do you feel as though James and regulus complement each other in some ways?

why yes of course! i fundamentally disagree w outwardly mean and evil regulus bc it makes no sense canonically. perhaps in an au where he separates himself from his parents and gets to be happy but regulus cares too much to be outwardly rude to people . it would impact his reputation and his families reputation like he isn’t hexing people in the hallways . he’s a professional faker (shit talks behind people’s back most definitely) and feels guilty and horrible everytime he’s plagued with an evil thought . i know many people view him as a selfish character but i think he’s fundamentally not . he puts everyone else’s wishes for him above his own . he doesn’t really exist as a person outside of his family . i do think , outside of this control, he would be sarcastic and have very dry humor , would love to read and would be very introverted but long for connection and friendship. a loner not by choice, he enjoys company but has no idea how to reach for it. i think he loves magic and magical creatures and genuinely holds a lot of love in his heart that his family disapproves of !! regulus soft black !!! not to say i think regulus doesn’t have an attitude and an edge …. i just think he has fundamentally good morals sorry! i’m a good person regulus black enjoyer i can’t help it …. of course he’s morally gray but most of the decisions he makes r caused by the life long abuse and trauma he is subject to . regulus black was suicidal as hell in those deatheater meetings the moment he turned 18 he killed himself LMFAO . i just know he was the most uncomfortable person in there at any given moment . i think vaguely threatening posh regulus is true but it is his exterior and the assumptions ppl make … and then they get to know him and realize he’s got like a little kid version of himself who holds the world with so much fascination . and it makes you sad when you realize he thinks it’s a flaw and wants to stomp it out

in this way i think he compliments james very well!! both people who really do value others and life but behave in very odd judgmental ways (regulus being a fake recluse who can’t function as a person w control over his life and opinions who is fake as hell and sarcastic whilst also having no understanding of social situations and desperate to be liked by people around him. number one peer pressure victim. 15,000 mental illnesses and a penchant for self harming behavior.) (james potter who is unfortunately consistently acting like a frat bro at any given moment : assumes everyone naturally loves him and is mostly right which does evil things for him as a person . would die for his friends but is also insufferable to be around (affectionate) . harshly judgmental to anyone who doesn’t fit into his box of what counts as a good person (which by the way regulus challenges in a way i think helps james as a character!) . looping back to the frat bro thing i think james is the type of person to throw a crazy party and convince everybody to drink and do unsafe things for the fun and when u realize u don’t have a ride home and can’t walk u are so fucking SCARED to ask to stay the night bc of his general vibes but then he ends up taking care of you and getting u pain killers and making like an awesome breakfast for the whole crew? should be the worst person you know but just beneath the surface is so much good it’s impossible to hate him.) you would never think these people would get along but then they both love quidditch and train for it like it’s their life and they are both academics with serious opinions on art and literature they would both die for even though they are often opposing . they are the first people they can have a conversation with and truly match eachothers freak on any given topic. the fundamentals of both of their characters is how much they care about life and the things inside of it . it manifests in different ways but i truly think the thesis of jegulus is that they are so much more similar than one might think outwardly , and it creates a soft intimacy between them . and also just james introducing the concept of silliness fun and happiness into regulus’ life lol!!

[darklinaforever]

I see so many people saying that the Doctor wanted to die / had suicidal impulses because he lost Clara. Whereas... yes, and no. Clara was only the retrigger of the Doctor's suicidal impulses. And the highlight of it, the straw that really broke the camel's back, was Bill's death. This desire to die in the Doctor at this period, comes from the compilation of the loss of all the loved ones he may have had, including Rose in it, like the moment where he thinks back to several people before stopping himself from regenerate indicates this. Clara was the re-trigger of these suicidal impulses after the accumulation of several losses, and Bill was the last straw after still other losses. Do you see the nuance ? It's not Clara herself, but rather the accumulation with her which was part of the return of this bad cycle. Each phase of the Doctor's suicidal urges is quite different. There is before he met Rose after the loss of his planet where he was clearly ok to die in the middle of a mission without seeing any problem, and when he lost Rose, her absence being really unbearable for his 10th incarnation which had been formatted on it. Especially since even at the time when Clara was alive, he already seemed to be tired of living : "This regeneration, it's a bit of a clerical error anyway. I've got to go sometime." So yes, we can take this sentence in the literal sense that yes, this regeneration was done a little outside the rules, but with what we know about the continuation of the character's arc, the sentence also takes its meaning double entender about the Doctor's upcoming suicidal impulses. He's already tired of losing people. He thinks that this regeneration is a mistake and that he must go there one day. For me, it literally stops the beginnings of his much clearer desire to die later. In my opinion, Twelve took a lot of risks throughout his story, and it even ended up rubbing off on Clara at one point. It's just that after Clara left, it became MUCH more obvious. He just stopped having any subtlety about it. Not to mention the fact that normally, a Time Lord does not go beyond the twelfth regeneration. So obviously there was the theme of the Doctor wishing to die during this specific regeneration since he should normally have stopped there, a Time Lord not often being entitled to a new cycle of twelve regenerations. Basically, at this stage of the Doctor's story, it could have been a character other than Clara who retriggers her suicidal impulses more fundamentally /frankly.

[klunkcat]

Forget-Me-Nots

rise of the tmnt tags: hurt/comfort, post movie word count: 18.8k characters: mikey & leo, minor leo & don

Leo’s maybe not as alright as he would like to believe. It’s just that he’s been misremembering a lot of things, small sections of his brain just smoothed over somehow, missing all of the regular information.

It also just keeps happening.

read on ao3 here

This is a fic I wrote basically entirely for @goodlucktai so thank you as always my sun and moon for your constant inspiration <3 Turtle brain rot lives within me permanently and will never die probably

____

At the center of it all, Mikey doesn’t regret it. He knows how angry his family would be, has actually watched from the outside how devastating it is to lose any one of them for a single second— the four minutes and seven seconds after the Krang ship exploded and before he cracked open himself to drag his own portal into existence were their own swan song. He felt the way the world coalesced into a singular black hole of grief that felt impossible to move underneath. He knows this changes all of his family in awful ways, that it'll rewrite them all fundamentally, and the thought makes him want to scream and apologize immediately after his choice solidifies in front of him, but he can’t possibly bring himself to pick anything else all the same. It's not that this is different, but it also is entirely. 

He thinks the problem is, at its core, the fact that he refuses to regret it at all. 

Getting Leo back is an impossibility— Mikey reached through and pulled the millionth of a million chance through and made it possible anyways, because it’s Leo. Because it’s his big, stupid, self sacrificing older brother who never even asked them how they’d feel before diving off on his own. Because a world without Leo and his whip crack jokes and larger than life energy is one he can’t stand to be in a second longer than he already has. Mikey makes it possible, because there’s no other option he will accept. 

He can see it later, all the words Donnie used to describe the choices and paths he burns right out of reality, bright and bold against his skin; there are branches, there are branches of branches. Each one of them splinters up his hands and arms until he can find the one where Leo makes it back. It hurts, and even with Donnie and Raph at his sides, it almost doesn’t happen at all— in fact, there’s many times it doesn’t. 

Mikey’s not supposed to be able to do this, not yet— he can see the years he spends honing this in Casey’s world, all the time and training and drain it puts right on that intangible ball of fire that makes up all of them. There are so many worlds where he can’t figure it out in time at all, but Mikey blazes through those anyways. If he can change things he will, and he will change them again and again until everyone he loves is safe and fine and home. It takes a lot of tries. Maybe that should have been the first warning sign. 

It starts with tingling in his fingertips. Fuzz, somewhere just at the end of himself that by day two, when Leo is conscious enough to hold a conversation in Donnie’s med bay, he almost misses when it gets worse. The shocky feeling is just the adrenaline, probably he thinks. It had been a really intense few days. By the next morning, attempting to text Cassandra and watching his phone fall from his hands for the second time, it hits him that he can’t feel anything in his hands at all.

By lunch, it’s at his elbows, dinner at his shoulders. He realizes that there are whole conversations skipping past; he’s awake and then he’s in bed, then he’s standing alone in the kitchen and he thinks he maybe hasn’t moved in entire days somehow without participating in any single moment of it. His family won’t look at him directly unless he speaks— he realizes what this is, what the burnt out remains of all those worlds had left him with. 

He still can’t pretend he regrets it, even then. 

He should tell Dee, or Leo, or Raph— Dad, Casey Jr., Barry, anyone at all— it’s been too late for a long time already, he thinks. A thousand other worlds where Mikey hits the redo all going 180 on the freeway and smashing into one at hyper speed. He has told everyone, he hasn’t told anyone, he’s redone it all twenty, forty, one hundred, two thousand times— there’s one world where Leo makes it back okay, there’s only one where nothing else goes wrong, and it’s the one where Mikey can’t. 

(There’s a part of him that’s scared, he can admit it. The idea of never getting morning breakfasts, excited team hi-fives, late night living room sleepovers; a million never's of an infinite number of days he’ll never know, it’s enough to cave in the whole of his heart. It’s worse to imagine all those mornings without his big brother, knowing he could have tried.

Besides, he’s Hamato Michelangelo. He’s got a whole house of brothers who taught him about being brave. He’s learned from the best.

When Mikey was younger, his favorite place in the entire world had been the hammock Leo strung up in their shared bedroom. It had been ratty in the way that made it feel extra soft, wide enough to fit all four of them if they curled up. Mikey would fall asleep half thrown across Raph’s shell, arm outstretched to wrap his hand around Leo’s wrist. Don breathing slow and soft on Leo’s other side to lull him to sleep. 

Whenever things were stressful he’d imagine that— the warm cocoon that held his favorite people. The way the light from the hallway as Dad said his goodnight's would bleed through the blue-gray cloth and turn it red and purple and orange, too. The way childhood took time and stretched it out long and infinite, it felt untouchable. 

It’s harder to remember now. The warmth feels like grains of sand he keeps letting slip through his hands, no matter how hard he fights to keep it. 

Another moment he’s supposed to have. Another, and another.

Maybe it’s easier now with the choice already made to feel scared but, he’s somewhere outside himself in a timeline that doesn’t exist anymore and he’s alone. He’s realizing, curled up on the asteroid, floating through expanses of nothing, flickering through a thousand branches of timelines that can’t happen anymore because he broke them, that he’s not sure he’s ever actually been alone.)

It’s fine, is the thing, really. There’s a difference between the slow slide of your family being ripped out right from the center, and this slow blink into something else. They don’t even notice it happen. 

____

“Come on, Raph! It’s just a quick little trip around the corner. What’s the big deal?” 

Raph levels him with a look, it’s the highly specific and patented ‘exasperated older brother stare’ he perfected and should have patented when they were five years old. Typically, the look spells a whole lecture on the importance of respect and believing in the team or something else equally as heartfelt and long winded. The Leonardo flavor to it lately means the chasm in Raph’s forehead is particularly darkened and wearied with concern, and the most he seems to be able to bring himself to do is sigh. 

Leo’s not a fan of the way this whole thing shook them all so deeply, if he’s honest. The tentative way his brothers all lurk nearby has him vaguely itchy with concern right back at them. Besides, he is feeling better, really. Don gave him the all clear this morning to get out of the pseudo hospital bed he’d set up, with stern orders to use a crutch to manage his busted knee as much as possible. He’s a pro with the crutches already, he’ll have them all know. Maybe his back flip up to the second floor had landed a little awry, but he hadn’t fallen over. On his face, anyways. 

No one had seen it happen.

“Leo, Donnie said you were allowed to hang out in the living room. The living room in our house.” 

Leo waves his hand in the air. “Eh. What’s the difference really?” 

“About fifteen point four miles, actually.” Don pipes in, peeking around the corner. “Fifteen point three of those you are not allowed to walk.” 

His family — you gotta love ‘em, but sheesh. Overprotective could be their new motto. So a guy gets teleported to a prison dimension and nearly doesn’t make it out, people have had crazier summer vacations. They’re all acting like if he moves around too much he’ll collapse into a pile of dust on the spot.

He flops backwards on the couch with an over dramatic groan. “It’s boring in here!” 

“So read a comic then,” Raph says, still frowning but in a more pleasantly annoyed kind of way. “Or… learn how to knit. I don’t know— you’re not moving, tough luck.”

“You want me dead,” he says, unthinkingly to the ceiling. To his credit, it doesn’t even take the awkward pause or the tell tale sign of his twin shuffling his lab door closed to make him realize he shouldn’t have said it at all. It’s the type of joke they always make, but Leo still catches the hollowed out look of pain in Raph’s eyes even as he glances away. 

“Sorry,” he tries, just to have at least said it.

Raph shakes his head, swallowing roughly. “It’s cool, just. You— you went through a lot, Leo. At least try to rest, okay?” 

Fine. He sighs, overly loud just to be a pain and re-shift the vibes back into some modicum of the correct orbit. “House arrest. Unjust, I want my lawyer.” 

Raph’s eyes brighten, something less haggard falling away as he turns towards the kitchen. Bingo. “Yeah, yeah. Tell it to the judge.” 

“Where’s Dr. Delicate Touch when you need him, think he’s got a law degree under that PhD?” 

Leo leans back, casually stretching himself farther onto the couch with as much feigned grouchiness as he can muster. A flash of orange catches the corner of his eye— “Ah, Ang! Tell Raph I can totally hang out at April’s. He wants me to steal all of your comics, you know. He said I should go into your room and take all of them while you weren’t looking. I heard him!”

He’s half expecting Mikey to gasp dramatically, or play into it by breaking down into an over dramatic eulogy and demand an apology from their oldest brother. Their usual bit involves a lot of Leo siccing Mikey onto the others like a particularly emotionally lecture filled chihuahua, something that Mikey gleefully falls into. The silence surprises him, mostly he realizes because it doesn’t. 

He peeks one eye over the back of the couch.  

“Oh,” Mikey says, blinking at him like he just realized Leo was speaking. “Ha— good one.” 

His baby brother seems lost in thought, which is typically not a good sign for anyone involved in the Hamato household. Leo’s heart shifts sideways and funny, instinctive reactions buried deep. “Hey, you wanna ditch out and join me here on lockdown? We can watch your favorite cup stacking videos, if you want.” It’s a momentous offer, Leo hates those videos. 

Mikey sort of just… stands there for a moment. Shakes his head, and seems to process Leo’s words in real time. “Oh— no, that's okay. Sorry, I said I’d help April with her art project.” 

Leo humphs loudly, crossing his arms— or at least halfway crossing them, the bad one shrieks at his boldness and he leaves it alone after a moment. The intent is there, probably. “Fine, sure whatever. I’ll just rot here then.” 

Another long awkward pause follows, Mikey staying still, staring just left of Leo’s head. There’s a very quiet feeling in the back of Leo’s mind he can’t place. “Angelo?” He hedges. 

Mikey blinks up at him, expression shifting too quickly for Leo to catch before his million watt grin is back. “Sorry, what?”

Leo squints. “Okay, change of plans. You. Me. Sitting here all night. Re-runs. I’m putting you on baby brother jail duty, it's a very serious role. You have to pretend to keep me in line, and then when the moment strikes, bust me out and go on a wild goose chase halfway across town to restore our former glory.” 

It earns him a tiny giggle from his baby brother at least. “Maybe it’s better you take it easy, Leo,” Mikey adds in, patting his head only semi-patronizingly, to his credit. “Raphie’s just worried about you.” 

Ugh. “Ugh,” Leo says, for emphasis. He tosses an arm across his eyes. “Fine, I’ll just wither away here on this couch all alone while you’re out having fun, whatever.” 

“Naw,” Mikey says. “Never have too much fun without you, bro.” 

Leo frowns at Mikey’s back, as he ambles off towards the half pipe sort of aimlessly. The sudden burst of earnestness is not unwelcome, really, or all that surprising. Mikey and Raph have always been his most emotional brothers. The way Mikey says it is despondent in a way he doesn’t enjoy, though. Like he’s tired. No, more than that— there’s something to Mikey that seems absolutely exhausted from Leo’s vantage spot from the couch. 

His shoulders slump downwards, lacking all of the usual flip switch energy and crowing enthusiasm their baby brother carries with him like a cape. It makes Leo feel— bad, he thinks. Nervous.

Maybe it’s one of those things Raph said that he needs to consider. Charging off into a death portal on his own with a tearful goodbye? Might have been a step too far into traumatic for his babiest brother. Maybe all of his brothers need to work through it on their own a little. He knows Dee has been spending more of his time in his labs than usual lately, that he’s working on a thousand and five back up plans for any scenario remotely like this ever again— as if they stumble across multi-dimensional horror show a-holes every week. Raph has been training extra hard, channelling as much of his focus into some theoretical improvement as he has been with hovering around Leo in case he keels over and perishes or something. 

Mikey has been— actually, he’s not sure what the guy’s been up to. Hopefully art, or skateboarding, although seeing him now, Leo’s not sure he’s been doing much of either. 

“Hey, Mike?” He calls, and Mikey pauses halfway through the door. The sight makes him worry, somehow. 

Mikey turns instantly, “Yeah, Leo? Did you need something?” Like he’d come back in a heartbeat if Leo really needed him, cancel all of his plans and stay glued to his side like Leo kind of wants, embarrassingly. Like he's just waiting for Leo to ask. Maybe they all need to work through a little bit of something. 

He swallows, pauses. “Nah, I’m good. Tell Ape I say hi, okay?” 

Mikey smiles, “Sure thing, bro.” 

____

The days after the incident in New York had everyone tense — news outlets are afraid to talk about it directly, hesitantly breaking news of clean ups and building reports. Their web of distant contacts begins poking through day by day— Leo got a fairly heartwarming message from Hueso that tells him that his family is also at least partially included in whatever footage was retained from everything. It seemed like most of New York has grouped them in the aliens category, and summarily proclaimed them all ‘returned home’, so there’s no immediate danger at least. 

Their usual ragtag crowd of other local mutants seem to know exactly what happened, more or less, which has granted them some pause in their usual problem-dealing. Something something local heroes, supposedly. Hueso even gives him a coupon. 

Casey finds his way down to the lair, then up to an apartment that April helps him set up with her mom and Cassandra after that, and learns how to text painfully and awkwardly with emojis, much to Leo’s horror. Leo’s bruises fade from angry black whorls to yellow queasy splotches, Raph’s eye gets a full all clear from Donnie, and the world keeps turning. Albeit, with a very intense and serious lecture from Dad about Leo taking it easy, slash being grounded for the next month to launch it all into a particularly odd spin. 

He’s been grounded before, he knows that’s not what this is. 

The protectiveness makes sense, even though it chafes at him and makes him grouchy the longer it goes on. April cancels said regular movie night at her apartment and forcefully shoves everyone into their lair so Leo doesn’t have to move, and Dad’s grounding conveniently doesn’t extend to April either. Mikey bakes all his favorite foods constantly, making the kitchen glow with warm spices and sugars. Raph carefully leaves pamphlets on proper stretches out on the coffee table, and Leo’s favorite blanket is always freshly laundered. Don, in his brusque way, finds excuses to sit near him at night so Leo can fall asleep being surrounded by people he cares about. He can’t fault them for it, really. Maybe underneath the bravado and the sheer amount of ‘not thinking about it’ that he’s doing there is a part of him that craves the intense levels of attachment everyone is giving him.

It’s fine like this, he doesn’t want to leave them either. He almost did anyway. 

Before the Krang, before Casey Jr., before the Shredder, the most harrowing experience they’d dealt with was hibernation instincts, learning how to cook food properly. Heat and avoiding illness. The beauty of having a brainiac twin and a dad that had navigated the world of finances and income before everything else, meant that they hit the ground running early. Maybe they’d all been a little bit sheltered, in hindsight. 

Something about growing up with yourself and your family and your whole world in your pocket.  Maybe you start thinking that maybe the world can’t touch you either.

If they’d asked Leo, he’d have said it didn’t matter— turtle luck, true to form and all that. Sure, things had gotten real apocalyptic bad end for a second there, but nothing permanent happened. They’d saved the day, Leo was fine, Mikey had cracked some insane magical connection no one else in the world could do and Raph came back. 

Bruised, sure. Scared, absolutely. Fine all the same. Or at least, he figures it should be fine.

He can see it in their eyes no matter how relaxed he made sure he looked, no matter how loud he talked. The what if, hovering over everyone, waiting to drown the whole room if they let it. Maybe a few degrees off from fine, but whole.

The photograph he carried everywhere now was starting to bend a little, just the hint of a crease where his thumb had pinched it too hard in the middle of the night. Leo figures he understands how they feel, even if he didn’t live through it. Somewhere out there was a Leo that had for a moment been entirely alone. They have time to fix it now though, he figures. The rest will fall into place.

“Whatcha got there?” April leans over the couch towards him. Raph is dozing to the quiet credits of whatever movie they’d been watching — the name of it escapes him, it hadn’t been very good.  They'd all jumped on it because it was something Casey said he’d seen a poster of once, which then started a whole conversation about how he’d never even seen a TV show, and how movies stopped existing because there'd been so little electricity to even play them on, and that had been so sad they’d all bundled him on the couch together to put it on immediately. 

Casey is tucked under Raph’s arm, chin tilted down and sleeping quietly himself; Leo itches for a camera. Don must have wandered off, his blankets still spread out by the foot of the couch— if he squints he can see the blue light of the lab filtering under the door. The light feeling in his chest sinks at the sight. 

Leo turns the photo towards April. “Just a bunch of weird looking mugs and some handsome bald guy, you know how it is.” 

April scrubs her hand across his head. “We should get that framed. It’s a good one.” 

It is, he thinks. It’s perfect. They have a lot of selfies from over the years, mostly silly ones. Blurry Leo’s diving away from angry Donnie’s or prank evidence, or the few Dad keeps in his special binder he thinks none of them know about from when they were younger. They have so many he usually doesn’t even think about any of them in particular. Sometimes the thought of that makes him want to lock this picture in a box somewhere, bolt the door shut and lie down very still. 

“You’re just saying that cause you’re in the middle,” Leo jokes. April winks back at him. 

Looking down at the photo again, there’s a well of warmth bubbling through him he can’t name. His family, all in one piece, grown one puzzle portion larger with Casey lately— he fits, too. Like a space they hadn’t realized was missing. Him and Sunita and Cassandra, and, begrudgingly if Leo has to play nice, Barry he supposes too and— 

Leo frowns. The photo looks… off. Too much space on one side. He doesn’t remember being in the middle, actually, he’s pretty sure he was on the side— Did he bend it too far? He squints, moving his thumb. No, it’s just, off somehow. Like one of those newspaper games, spot the difference, except there’s a pit in his gut like something important happened. April’s expression slow glides into confusion, but Leo can’t even say what it is that’s wrong, only that there’s a portion of him that is suddenly and abruptly convinced that the picture he carried to hell and back is wrong— 

“Did either of you want some popcorn?” Mikey’s voice cuts in, shoving a brimming bowl towards them. “Raphie fell asleep before he could eat his. Well. I kinda hid it from him.” 

“Oh, thanks, Mike,” April bends forward happily.

Leo blinks back— no, the picture is fine. It’s fine, there’s everyone’s faces smiling back at him, not a thing out of place. He is in the middle, oh. He’s maybe more tired than he thought, is all. Jeeze. It is late, he reasons, and the painkillers Don’s been aggressively-minus-the-passively implying he will be hunted down for ever missing make him drowsier than usual. It’s that residual nightmare problem he’s been having, too; night time makes him jumpier, like he’s on a time limit to prove things are really here. Maybe the sleep aid’s Dee mentioned would be a good idea, he’s just afraid of not being able to force himself awake when the dreams take a turn. 

“Want some, Leo?” Mikey’s eyes shine in the TV light, reflective and almost full white with it making him look almost the full alien New York is convinced they all are. “I put extra butter on it for you.” 

“Thanks, buddy.” 

____

The dreams always start out the same. He’s not in the other dimension, not yet — he’s on the ship with his brothers. He’s watching Donnie take a hit, and calculating in split seconds the likelihood that any of them will get out of this at all with dread so violent in his chest it feels like the world is cracking in half in front of him. He knows— he knows, he knows. There’s only ever one choice to make, and he makes it.

Then, sometimes, the earpiece crackles to life. It’s his voice, it’s the Krangs, it’s Draxum’s and Shredder’s and everyone’s tangled together. He’s saying goodbye, but they aren’t through the portal yet— he’s miscalculated the odds and there’s no one on the other side of the line. 

He’s alone even before he’s actually alone, there’s no one to even say goodbye to. 

Or, someone doesn’t leave. Raph stays behind and he’s so overwhelmed with relief and gratefulness he almost misses watching the Krang skewer him directly before his eyes again. Donnie can’t get a block up at all, and the hit launches him faster than Raph can catch up. April’s there and she takes the hit instead. Someone else takes his place, someone else figures it out first and makes him stay behind. 

Or, he never left. He goes through the wormhole and Casey closes it and no one ever finds him at all. Because he made it up, because he’s still there. 

One night he wakes up, and he doesn’t remember how they got him back in the first place. 

___

“Hey, Leo. You want to try running through some training today?” Raph leans across the hallway — Leo’s been itching to move, to do anything. His injuries have all but healed up, the concussion tucked nicely away; despite Donnie’s stern insistence otherwise, he’s got a clean bill of health. He practically leaps to his feet at the words and very aggressively ignores the immediate head rush that follows. He's been sitting around for far too long, honestly, he's determined not to lose an ounce of his usual pizzazz.

“So I can kick your butt, you mean?” 

Raph snorts. “That’s the kind of big talk I like to hear. Just easy ones today though, okay? Butt kicking is a next-month kind of goal.”

“Come on, Raph, I can wipe the floor with you any day.” 

“Uh-huh.” The silence that follows is biting, touché big brother. 

“I can! Few weeks off isn’t enough to unsizzle this sizzle.” 

“Another wholly scathing comment battle where we all remain interestingly unscathed, I see.” Don slinks from the kitchen to the living room, typing furiously at his wrist the whole time. 

Perfect, Leo thinks. Everyone together, the absolute ideal way to burn off the wildfire forming under his skin. Get two birds with one stone in making sure they’re all okay just the same way they’ll be nervously poking at him— turnabout is fair play and whatever, but he’s just as worried back. Everyone’s been… odd, since the Krang. He just wants it to feel right again for a few seconds.

“You too, Donnie. Get your gear, let's make this a full on Leo power hour special. My portalling is even better now; while I’ve been sitting around watching Jupiter Jim reruns I got some crazy ideas. I'll have you know it’s ripe with cosmic…. Idea making. Juice.” 

“Are we just making sounds? Is that what this is? These are just sounds you’re making.” 

“Oh come on, as if I can’t take both of you with one arm behind my back.” 

Don rolls his eyes, making a show of crossing his arms. It’s nice, actually. They’d all been too raw with nerves to be snarky or throw any barbs around. Sass from Donald is basically a gleaming thumbs up for ‘things are actually okay’, so maybe everyone will get the hint too. “Maybe I should check if you have a fever, you’re acting…. Oh that’s right, entirely delusional is a personality trait of yours.” 

“Hoo hoo! Fighting words, I see how it is, ‘Tello. Let’s make it a full bet then, three on one. Where is Micheal anyway—” 

He pauses— Mikey stares at him from the railing, kicking his feet happily from the ledge. Right, because he’d been there the whole time. Duh. No one else seems to blink either— maybe Mikey had done some practising while he was out of it. Really honing in on that mystic warrior side, kudos to him, really. 

“Hey, you wanna help me prove a point to these bozos?” 

He grins, the same way he always does. “Can I be on your team?”

Leo makes a show of rolling his eyes with a sigh. “Man, harshing my whole solo hero against all odds shtick there Michael, but yeah I guess.” As if he’d ever really been able to say no to those big green eyes. 

Leo shakes his head. Blue. Mikey’s eyes are blue. Of course they are— they’re gleaming and bright in the photograph he carries right over his heart, he’s looked at them nearly every day for his whole life. Silly. 

Maybe training today is not up there with one of his better ideas actually, but he’d rather volunteer to do Dad’s laundry than admit that now. 

“You sure you’re up for it?” Mikey asks, and Leo does not jump— he does not— but does feel his heart rocket directly into his teeth as his brother appears suddenly beside him. 

Leo clicks his tongue, playing his sudden jumpiness off and waving his hand dismissively. “Up for what? A nice easy warm up where we absolutely show these clowns up? Sure, afterwards we can get ice cream from that place you like, easy peasy.” 

“Ice cream?” Don cuts in with a snort. “You want to deal with that inevitable explosion, be my guest. More of a punishment than a reward, though, I’d say.” 

“Yeah, Leo,” Raph tilts his head, losing some of his easy playfulness. “Kind of cruel to throw that in his face.” 

“Huh?” He whirls towards them both. “Cruel? Me? What’s wrong with ice cream?” 

Mikey huffs. “You know I can’t have dairy.” 

What? No, Leo definitely wouldn’t have missed that big of a development, no matter how whacked out he’d been— Mike’s favorite place in the world outside of the pizza parlors was the ice cream shop by April’s that sold absolutely unhinged combinations of flavors. They went there all the time after practice, it was their together thing. Leo once chugged a whole twenty dollars worth of pickle flavored ice cream milkshake just to make Mikey laugh and— hadn’t he? Or….

Leo frowns to himself. “Right.” He shakes his head again, squinting at Mikey. “Doi, I was saying… Mikey’s shop, you know. The candy place you like. Jeeze. Can’t talk today.”

Mikey brightens up instantly, “Ooh, can we get the big jawbreaker this time?” 

“Course,” Leo nods, trying not to frown. “I’ll buy you the biggest one if you want.” 

He has the strangest feeling about this, like deja vu. Two of him walking in the same fun house mirror paths at once. Mikey skips ahead towards the training room and something— there’s something off— 

“You sure you’re up for it?” Raph interrupts, placing a hand on his shoulder as he approaches. The Raph Chasm is back, great. “You look a little pale, bro.” 

Don leans in also, tapping even more intensely on his wrist tablet. “Seems fine. Temperature is normal, no signs of reopened injury. Heart rate is a little elevated—” 

“Dude,” Leo gapes at him. “Did you— did you chip me again?”

___

His dreams get weirder as the days go on. He figures it’s something to do with his brain trying to settle in, like it’s run out of plausible events and has to start throwing weirder and weirder potentials in the mix just to be sure.

He’s in the prison dimension now when it starts. He’s there, and he’s holding onto his photo, and the Krang Leader is approaching with shockwave levels of thunderous rage. It always goes the same: 

Leo is cornered, he’s alone. He’s waiting for the next hit, the next punch. He can’t remember if this is real, he can’t remember if he leaves. He knows he’s alone, he thinks it might be forever. Then, the Krang vanishes— he looks around, and he’s on a rock in the dark, an unthinkable distance from home. 

No Krang, no family. Miles and miles of scrapyard wasteland space, and nothing but himself. It’s somehow worse, this way. 

Then, sometimes it shifts. His brothers are all there, god— his brothers are all here. Sometimes it’s Dad, and he’s trying to take all the hits himself. Once, Casey. It’s terrifying to be alone but he always hates those ones, the ones where he somehow drags everyone else down here with him. 

The worst one is when it’s Mikey. He must have taken the hit from the Krang himself, he’s banged up and barely moving— smiling at him behind a swollen eye. 

“It’s okay,” He says in this one, it’s the only one where anyone talks. “It’s going to be okay, Leo.” 

___

Leo’s maybe not as alright as he would like to believe. It’s hard to think of the shape of whatever it is, let alone admit directly; he’s forgetting things, is the sum of it. He forgot where Donny’s new second lab was the other day, unthinkingly walking directly in with a question he’d instantly forgotten and nearly set off the project Don was working on. He forgot that Raph has a new motorcycle, and that he drives it around most nights after dinner and that he doesn’t spend a lot of time at home. He forgot that really, he’s the only one that watches Jupiter Jim, and wrestling, and they haven’t gone topside together in ages.

It also just keeps happening. 

“Are you coming over?” He says, breathlessly into his cell propped up with his shoulder. The stack of pizza boxes he's carrying sway dangerously as he leaps down another sewer grate. 

“For what purpose?” Cassandra’s voice rings back. 

Leo shoves the latch for the lair with his foot. “You know, the big Re-re launch of the Luo Jitsu: Stars in Five Separate Dimensions, the game the movie the game the sequel. Duh.” 

“Do not ‘duh’ at me when you are speaking entire nonsense.” 

Leo laughs, rolling his eyes. Cassandra’s brand of humor has taken on a new thread with her division from the Foot. She’s apparently going to mechanic classes now, and sass lessons if these conversations have anything to say for it. “Nonsense, she says. Fifth biggest Lou Jistsu fan I know, and she’s pretending not to know about the largest night of the past two years. Sure.” 

The pause throws him off. He can hear her brain whirling across the line. “Are you referring to the biggest gaming night of the year when the new hockey immersive VR game becomes legal to play in four states? That’s next month.” 

“What— No,” he pulls his phone away from his face in disgust. Yes, it’s Cassandra’s icon, and her voice but honestly, this could be a bodysnatchers moment. He’s had weirder weekends.

“Then no, I do not know what you speak of. Should you like me to come over and resoundingly beat you into a pulp over video games, I accept.” 

“I—” Leo’s brain… skips. Resetting. Another thought lines up neatly in the space between. “Right. Yeah, I — man I don’t know what I’m talking about. Just come over and play Mario Kart or something fun. I have pizza.” 

“I don’t mean to alarm you, but you usually have pizza,” She says, because snark lessons are working over time apparently, and hangs up. 

He’s positive for a long moment that he’s dreaming— that’s what gets him. The line between the skipping do-over dreams and these blips of forgetting are getting more and more unclear. He’s in space and he’s alone, and then he’s awake and Donnie’s new invention is in the living room, and he remembers that they don’t use it for a whole lot these days anyways. He’s with the Krang and he hurts and then he’s awake and his brothers aren’t around and it hurts anyways. He doesn't remember home being so cold, but it is and it's real and maybe Leo's just losing his mind.

It’s just that he’s been misremembering a lot of things, small sections of his brain just smoothed over somehow, missing all of the regular information. He wants to tell Donnie, he should tell Don, it just— it seems like a much larger deal than he knows his genius twin could possibly actually deal with. He might be an honorary MENSA member, but he’s not a brain surgeon at the end of the day; it’s easier to go along with things when he can, until he can’t. 

It’s not even clear why he doesn’t remember, he didn’t get that bad of a concussion during the Krang events— most of the punching had been to his sides and chest actually. He’d been totally fine the first few weeks. It’s like a slow settling poison, whatever this is. He’s partially convinced himself it’s just a lack of sleep, or that he’s missing some sort of key vitamin; he really needs to start eating genuine meals instead of boxed things, honestly. He can’t tell Donnie, because if it is his brain he knows Donnie can’t fix it. He won’t do that to him until he has to. It’s his problem, anyways— it never seems to be about anything major at least. He’d caught himself nearly calling April over to the lair, as if she’d ever been over to their new place after the old one was destroyed. He remembers there wasn’t an old lair, April just hasn’t ever come over. He sets up too many chairs for game nights and no one shows up, because some part of him forgot that they hadn’t hosted a family night since he was six. 

Through it all, there’s a constant ever-lying thrum he can’t name.

“Hey, uh, Dad?” Leo calls, stepping into the living room. He’s shuffled the pizzas off into the kitchen, and remembered that it’ll really just be him and Cassandra probably. Again, evidently. Don is doing something in the lab, his old one downstairs, and made it clear after Leo’s last interruption he had to be invited first— a rule they’d never had before. Leo had always been able to tromp through his twins space as easy as breathing. Raph is out, as he is most nights. The lair is quieter, the thrumming so loud he can hardly think. 

“Hm, Blue? What is it— oh, did you want the TV for something?” 

Leo shakes his head, hovering awkwardly beside the couch and tapping his foot with anxious energy he doesn’t even understand why he feels. This is a bad idea, he thinks. The thrumming is prickling at him like knives pressed outwards, though, and if he doesn’t tell someone he thinks he might snap entirely down the center of himself anyways. It’s still a bad idea, it’s the only idea he has. 

“Can I talk to you, about ah— something?” 

He winces at his own words, and watches Splinter shift, expression dropping serious and worried all at once. He turns the TV off and pats the space beside him on the couch. “What is it, my son.” 

Shell, he hates this. Either Dad will think he’s insane or immediately tell Don anyways and none of it will matter. He bites his lip. “I just— I’m worried about Raph,” he ends up saying. 

Dad blinks, his face twitches into something more thoughtful. “I do not know what he does being out so late every night, but I’m sure he is safe.” 

Leo nods, pulling at loose thread on the blanket throw. “Course, yeah. I mean, that guy is the biggest worrywart I know, it’s just— do you, uh. Do you remember if he always… went out so late?” Leo doesn’t. Leo has been told it’s what Raph does and stared at as though he was the one out of touch until he found himself nervously playing along, but he doesn’t remember knowing any version of Raph that would leave so often. Any Raph that acted like couldn’t stand one more second of being around his family. 

Understanding flickers across Splinter’s face, his ears drop. For a moment, Leo’s overeager heart soars. 

“Ah, I see,” Splinter says, patting his hand. “You miss your big brother, is that it?” 

“I— well, yeah, sure, but—” Splinter clicks his tongue at him affectionately. 

“It is okay to miss Red, I miss him too. And Purple, when he’s locked away in his room. And you, when you’re too focused on your training.” 

He knows, he knows, it’s just that it doesn’t change even when they’re here in front of him. It’s like they don’t fit now, and he doesn’t understand why. 

“Blue, families can change and grow with time, sometimes the changing leads them to… wild new things like motorcycles and teenage rebellion,” Splinter continues, and Leo hears it, the softness he uses when he’s imparting parenting wisdom, and the brakes can’t be stopped so— “Red still loves you, he’s still your family.” He catches something in Leo’s face despite his own attempts to school it, and his dark eyes flicker for a moment. “Is this…about the Krang?” 

Crud. Leo twists his face up to stop from doing something stupid like sniffling. “No. That was so long ago now, pshaw. Anyways, I know, obviously, I’m Raph’s favorite. Nice to hear anyways, though.” 

Splinter chuckles, patting his hand again. “You know that he loves all of you the same. And so do I, Blue.” 

“I don’t— yeah, I know—” There’s no point, he can’t do it. Leo sighs. “I just— can you talk to him? About not staying out so much? We used to, yanno, have movie nights and stuff is all.” 

Splinter hums, tapping his chin. “Schedule your movie nights at April’s so I get the big TV and you have a deal.” 

Leo forces a laugh. Do they even hang out with April like that anymore? Imagining a world where they don’t is awful, inherently cold and empty in a way he immediately doesn’t care to allow. “Sure.” 

There’s a pause, the thrumming is still there— the moment’s passed though, he’d only make Splinter worry more. 

“You know, this place used to be filled with a lot more… laughter,” Splinter says, after a moment. “I will talk to your brother.” 

“Okay,” Leo says in a breath. There’s something there, almost. If Raph can spend more time at home, maybe they can drag Don out, too. Maybe it’ll feel right, and he can let it go and stop checking the front door, and maybe his brain will start working so he doesn’t have to put all that weight on his twin brother anyways.

The almost’s never seem to make it anymore, though.

___

It starts to really hit him a few days later. 

“--earned it from you, big bro.” 

‘You can’t do this’ He threw himself forward but there was that flicker again, the sideways pull and he was alone on the rock where the Krang threw him except it was just him and— 

‘I have to, I’m sorry. You keep leaving,,’ and it sounded like a plea, like a cry for help disguised as a big brave step forward, and everything in him coalesced forwards like he’d only ever known how to do just that. Like he’d only always known how to bend and soften at that voice, like it broke every part of himself just to hear it wavering like this. 

He wakes up from a dream and he can’t remember it; there are tears pouring from his eyes and this big hiccuping sob lodged somewhere behind it, and he can feel it— the heart shaped puzzle piece that’s been scoured right out of his chest, an essential part, something he can’t be without, but he can’t even remember what it looked like. 

You don’t, he thinks. You don’t have to. Just let it be me, I chose it already anyways. You can’t take that away.

‘I can!’ it echoes off the nothing around them, off the something because they’re in the air again, and everyone else was pushed off but the two of them, and he’s holding the totem to lock the door and he’s listening to the broken comms on the other side. ‘Look at me, it’s okay. I’m the only one who can. And— and it’s okay. Because you’ll all just forget, so it’ll be okay. You won’t miss me—’

Of course I will. He’s angry, he’s furious and desperate, he’s not sure anything he says is reaching anything at all but he’s more certain of anything that it has to. I’ll miss you more than anything. 

‘I’ve already changed it, you can’t stop it. I just— I wanted to say—’ 

There should be alarms, he thinks distantly, panic and dread and grief white hot behind his teeth. Blaring red alert rolling alarms, because the world had ended and none of them were moving fast enough, and he was just going to forget again when he— 

“Oh god,” Leo gasps, throwing himself off his bed— catching his feet messily in the absolute tangle of sheets and crashing to the ground instead. His hands are trembling, there’s a pained animalistic noise tearing itself somewhere in his ribs because the thrumming has become a black hole in his gut. He’s nauseous in the same way he feels entirely gutted, devastated all the way through to his center and he needs to get to the bathroom, to Donnie, to anyone— 

He feels like the floor has just vacuumed itself through an airlock and there isn’t enough air anywhere at all in the world, and he can’t remember why. 

“--eo, what are you…? I swear to— Leo!” 

He has his hands pressed tight against his neck, he can feel his own heartbeat absolutely rabbitting underneath but it’s real. He can feel it and it’s real. He’s here, at least— if that matters. He can’t remember if it matters. The pain hasn’t gone anywhere even with Donnie in the room, like it usually does. Because there’s nowhere else for it to go, he thinks nonsensically. It’s gone, the place it goes is gone. 

“Dee,” he gasps out, pleading for…for nothing, really. For anything. 

“I got you, Nardo,” Donnie’s voice is closer, his hands are hovering nervously around the heaving galloping black hole that is all of Leo before settling on his shoulders. “Up we go, okay? Just, breathe. In and out, follow me.”  He pulls up a diagram, an unfolding square that refolds, breathing exaggeratedly along with it. Leo tries to wrangle himself into himself, feel around the pit of nothing in his chest, breathe long enough to chase away the gray in his vision at least. It feels pointless, breathing through a straw at the end of the world— he can’t possibly keep his heart beating one more second, but it does, and then it does again. 

“That’s it,” Donnie says, his hand rubbing circles against Leo’s neck. “Better, okay. Keep doing that.” He sounds anxious, tense in the ice cold–locked up way he gets. Leo’s chest aches. “You’re not running a fever, no proximity alarms were tripped so— bad dream?”

The cataclysm in his heart is stilling, like it’s being put to sleep more and more with every word. Every realignment of real and not real— part of him is terrified by this, like it wants to scramble it back. Leo shakes his head, still wheezing. Nods after a moment. Pauses, and embarrassingly bursts into tears again in spite of himself. 

“Woah! Woah, okay, okay. Got it, no questions. You’re fine, you don’t have to tell me.” 

He holds his hand out— it’s something they used to do, when they were little. Don had learned something about otters holding hands when they slept so they wouldn’t drift off, and Leo had gotten it in his head that since they were in a sewer, it was possible they’d float away at night too. He’d held Don’s hand every night until they all split off into their own separate rooms when they got older, palm to palm, holding onto Don’s wrist. Even after they had their own beds, Don would sneak in if he felt like Leo wasn’t sleeping good; they haven’t needed to in years. 

Leo latches himself onto his brother's hand like a lifeline. This is real too, he tells himself. It makes the horrified part of him wail with something like grief anyways.

“Okay, alright Leon. I’m not going anywhere, okay? Breathe.” 

Leo tries to hold each breath like water in his hands, imagine himself filling up that space inside him. The idea is so instantly horrendous, a murky swirling bog where something was— he doesn’t know why— it chokes him into another sobbing fit for a moment. “Sorry, jeez— jeeze. I’m sorry, ugh.” 

He can practically hear Don’s eye roll. “Can we get up off the floor now?” 

Leo nods, shakily. He grips Don’s wrist even harder, but lets himself be dragged back into bed. 

“Want some water?” Don asks; Leo stares down at their joined hands and feels a spike of panic in him. It must trip something on Don’s weird chip, he glances down at the screen. “Ohhkay. Nope, nixing that plan, sure. We can just dehydrate.” 

“Sorry,” Leo wheezes again. He knows Don is trying so hard right now, too, or he would have made some annoyed comment about hating unnecessary apologies. He stays silent, squeezing back just as hard. 

“Would you like to tell me what happened?” He asks, after a moment. 

Leo winces. 

“Or, I could invent some never before seen and heard of technology and just dive right into that awful little brain of yours and figure it out anyways, if you want.” 

Leo snorts. “You have that already. ‘S called being stuck with me.” 

“Hm. True. Doesn’t give me all the answers, though.” 

He wishes it would. Don’s brain could probably work out exactly what to do  in five seconds if he had the opportunity to mess around in Leo’s fuzzed out brain. Maybe that was the problem. Leo lets out a long breath, ducking his head to nudge against Don’s shoulder. 

“I think there’s something wrong with me,” he admits, to the space between them where their hands sit. 

“I will refrain from my default response of ‘beyond the usual’ or any other witty remark this one time, on the grounds that you’re kind of a mess right now. Know that I did think it for the record, though.” 

“Noted,” Leo smiles, waterlogged and wavering. 

Donnie shifts, pulling his free arm up around Leo’s shoulders. They fall silent for a second, just the wet and choked off sounds of Leo wrangling his own heart rate surrounding them. Don pulls him closer, a half hug. “You know. Whatever it is, I’ll fix it.” 

He squeezes his eyes shut, the ghost of that all consuming grief still wrapping itself around his throat. Donnie’s fixed everything since he was able to hold a screwdriver, his faith in his brother is as unshakeable as his understanding of cool action films, as his belief in his family. He knows his brother would try to fix it, and would get closer than anyone else possibly could. Maybe he’s not sure there is anything to fix.

“What if you can’t?” It comes out small. 

Donnie’s arm squeezes tighter, steel in his frame. “I will.” 

It’s nice, he thinks. To pretend like Don’s got all the answers. “I’m sorry I went through the wormhole,” He says instead. Sorry I almost left you, he says with the way he leans farther into Don’s side. 

Don lets out a sharp breath. “No, you’re not.”  He isn't wrong, Dee knows him best.

“I’m sorry that I’m not sorry, anyways.”

He can feel Don’s heart beating against his fingertips, can feel the sharp and bending curve of him at his side. Palm to palm so they don’t float apart— maybe Don’s grip is also tighter than usual. He can manage to feel bad about that, maybe, in spite of himself. 

“I’m used to it,” Don says, after another long moment. Subdued. As long as you come back. As long as you let me bring you back, he says with the squeeze of his hand, the way he won’t look at Leo at all. 

___

“Purple told me about your dream last night,” Dad says, looking worn and serious in a way that makes him look far older than Leo is comfortable with noticing. “Do you want to explain, Leonardo?”

They’re sitting around the kitchen table, and his head is in his hands staring down at the whorls in the wood. There’s a carving, he knows, just to his elbow that he and Raph had put there when they were kids, it’s just that for a moment he could have sworn that it wasn’t from Raph at all. He’d been lost staring at the cupboard for a moment with a dark, inkblot feeling around his throat until Dad had startled him out of it, looking at their old favorite mugs. He doesn’t remember his being any of these. He’s certain, for a moment, that his had been a hand painted one, lopsided by the handle. He can’t find it anywhere, though. 

He’d asked Dad when they’d thrown it out, and gotten a blank stare in return. 

‘The… the splotchy one,’ he’d said, panic lacing in behind his eyeballs with its intensity. ‘You know. I always drink tea from it with you.’ 

Splinter shakes his head slowly. ‘I am… sorry my son.’ 

A hysterical laugh frayed at his throat, he’d lost the fight in shoving it back down. ‘There’s a smiley face on the side by my thumb, you know. Don said it was ugly and we got into a big fight when we were like ten. I drink out of that mug every day, because it—’ He couldn’t remember where that sentence was going suddenly, like the words scooped themselves directly from his lungs. Evaporated. ‘I… I know it is. Where did you put it? Did— if Raph broke it, that’s okay, I can fix it.’ 

‘You’ve only ever used this mug, Blue,’ Dad had said, holding an Eeyore mug. Leo feels his mind snap in three places, reconnect. It’s slower this time, more painful. Maybe that’s him, breaking. 

‘Right,’ Leo laughed, squeaky and high. ‘Sorry.’ 

“They’re just dreams.” He says, like it burns on the way out. “I’m just not sleeping well.” 

“He’s been waking up every few hours,” Don throws in, because of course he’s been tracking that, too.

“Hey—” he tries, and catches Raph’s serious, unhappy face as he lifts his head. The way he looks frailer around the edges, exhausted the same way Leo is. Oh.

Raph sighs. “He’s jumpy. Confused. I thought…” He makes eye contact with Leo and looks away. “I thought maybe the Krang incident rattled him, was all. But it’s been months,” 

“My son,” Dad adds, before Leo can process any of that. “Why did you not tell me?” 

Shell, he thinks. Shit, for emphasis. “It’s just bad dreams,” he shrugs. “What’s there to tell?” 

Don snorts, crossing his arms. “Just bad dreams he says, as though regular disruption to your REM cycle bears no long term effects like, say, spacing out. Forgetting where my lab is. Dialing the wrong number when trying to reach me, your twin brother who literally programmed your phone.” Oh, right, yeah. He had done that. 

Burying his face in his arms seems like the best approach to all of this. The gnawing thrum is back, wilder like a firestorm in the back of his mind— it seems to get louder when he’s aware of it, he’s not sure what that means. 

“Leo,” Raph’s voice is tired, too. Why is everyone so tired? “You can talk to us, you know that right? We just want to make sure you’re okay.” 

“Stop being so,” Leo struggles to find a word in between burying his forehead father into his arms. “Reasonable. Ugh.” 

Splinter pats at his arm, comfortingly. He debates the merits of coming clean, then of feigning a sudden illness, or playing up some hidden head injury that miraculously resolves itself before Don can pull out any of his scarier tech. A wave of exhaustion pulls at him. “I’ll fix it,” Donnie had said. Maybe it’s embarrassing to want to believe anyone can fix this at all, but it’s his family, and this is the most he’s seen them in months and despite what everyone tells him, he doesn’t remember a time things were like this at all. He doesn’t remember a version of himself that would have been content to let it happen. 

There’s something there. An invisible wall he’s walking into while everyone else skirts around it. If only he didn’t keep forgetting what he was dreaming about— he lets out a long, long breath, dropping his head even lower until his brow presses into the wood directly. 

“I’m. Forgetting things.” He mumbles to it, shoulders high around his head. The silence that follows is long enough he almost thinks they didn’t hear him at all. 

Don clears his throat first. “Forgetting… what.” He sounds ominous, tight laced. Exactly what Leo was afraid of. He scrunches up his beak in response. 

“Everything. You, Raph— I don’t remember why April hasn’t visited. Or, or where your lab is. Cassandra doesn’t care about Lou Jitsu games, no one watches Jupiter Jim. It’s all— I don’t know.” 

Dad takes in a breath, Leo can hear him consciously making sure to keep it measured and slow.  “Is this because of the Krang?” 

Leo shakes his head, digging further into the grooves of the tabletop. “No, I — I don’t know. Maybe? Everything was fine, and then. It wasn’t. It’s like I’m—” Missing something. It’s like there’s a big glaring neon sign directly in front of him that he can’t see, some obvious clue like a protagonist in a horror film that the audience is throwing popcorn at. 

“Do you…. Do you ever imagine there’s like. A memory that you had, but something happened, and then you lost it. And you don’t remember enough about it to know what it was, but it’s like part of you knows that it's gone anyways?” He feels insane, he can’t look up at his brothers, he can only close his eyes and wish himself somewhere else where the black hole in him is quiet. “Sorry, that’s— I mean, maybe I am just tired. Just feels… different, lately. I keep looking at the front door like someone’s gunna walk in any second, isn’t that weird?” 

No one speaks, Leo sinks lower. 

What if whatever is wrong with him is contagious? What if saying it out loud is the thing that breaks this wide open on all of them. What if nothing happens at all, and it’s just Leo and his brain and some unknowable horrid thing wrong with him that makes him feel like half of himself is missing somewhere else. 

What if he’s right?

“You remember the other day, Raph? You said something about me reading comics, staying home from April’s and reading comics.”

“...Yeah.”

Leo digs his fingers into the back of his head. “I walked into Donnie’s lab because I couldn’t remember where the comics were, and it’s like I just, went through the door. Then— I mean, none of us own comics. Why did you say that?”

Raph starts, stops. “I… don’t remember.”

Don breathes, long and shaky. “I put a chip on you and Raph and Dad because I thought—” His voice is flat, quiet, and breaks neatly down the middle. Leo freezes, tenses on the spot. “I had this feeling. Like there was a problem I’d missed, like I hadn’t perfected something important. I drew all these schematics and they didn’t make sense— and I knew, they were for something specific, but I had no idea why or what. I have inventions I don’t remember making, too— I thought someone else left their things in my room but they all have my logo on them.”

“I asked April for tea,” Dad adds in, slow and confused. “Orange pekoe. I have never drank orange pekoe.” 

Don continues. “You told me you hate pro skateboarding the other day and I nearly vaporized you on the spot because I thought you were a clone. And then it was like, my brain just. Caught up. Remembered all these things that didn’t fit anymore.” 

Leo stares at the table, lifts his head up so sharply his vision swims, and stares at his brother. “Yeah. Yeah. Like, like you’re reading a new script.” 

Holy shit, he thinks. They all nod, slowly. 

“I thought it was me,” Leo says. 

Don shakes his head. “I’ve been doing tests. Measurements and scans— I can’t get a read on it so I haven’t brought it up yet.” He shrugs. “It’s… it’s weird, Leon. I don’t make measurement errors.” 

“But you have been,” Leo says, slowly. 

Don breathes out, heavily. 

“Your math,” Raph says, simply. Leo’s gaze shoots towards him; his big brother looks haggard, dark circles around his eyes that Leo hadn’t noticed before. “Donnie, your math. Why’s it always wrong?” He’s gripping the table top awfully tightly, Leo notices. White knuckled bone pressing upwards into the harsh kitchen lighting, like it’s the only thing keeping him upright. His big brother has always been unmovable, no matter what was thrown at them. He was okay, and would figure it out, and would help them brute force things back where they should be if they had to. He looks... small, suddenly. Just a kid.

“Woah, Raph, maybe you should take it easy for a second—” Leo starts. 

“Four,” Don cuts him off. He looks vaguely haunted as well now, eyes dark. “I keep dividing by four.” 

___

“I kept driving around at night to find someone, I was so sure they were in danger. Raph thought he was losing it,” Raph says, rubbing a hand across his eyes. 

“Me too,” Leo admits. “Thought Donnie was going to have to lobotomize me.” 

“Easy to do when you already are missing a brain,” Donnie mutters. They’ve moved down to the living room — invited Casey and Cassandra and April over, too. Draxum, despite Leo’s better judgment, is lurking somewhere in the kitchen area as well. Leo keeps holding Don’s hand, seemingly unable to stop now that the words are out there, and Don hasn’t asked him to let go yet either. 

Raph glances between them both, tense. “Stupid of me to not tell either of you. Should have known,” he offers with a weak smile. “We’re always in this together.” 

Leo shrugs, “Sounds like we all did the same thing. In my defense, I thought I was concussed.” 

“So,” April joins in, hesitantly. “You’ve all been… remembering things wrong, too? Because— I mean, you said that you were going to get Casey to guide me down here like I didn’t know the way, and then. I mean it was weird…” 

“Oh thank god,” Leo sags in relief. “You not having been here before was bothering me so much.” 

“And your dreams, Blue,” Dad cuts in, tucked up in his arm chair with a cup of steaming tea he hasn’t touched. He looks guilt ridden too, in a way Leo hates. “They’re not just about what happened?” 

“No, well. They are but. They… change? It’s like a hundred different versions of the same thing. Sometimes April’s there, or Casey, or no one is.” He shudders, a flash of some dream he had crossing his mind vaguely. “I can’t remember most of them anymore now, but it. I don’t know. I feel like. Something important happened, is that insane?” 

Casey looks at him searchingly, he always seems so heartbroken by all of their struggles in a way that makes Leo want to wrap him in bubble wrap until he’s 30. “Not more insane than anything else,” Casey says somberly. 

“Do we have, like, memory problems? In the future?”

Casey shakes his head. “Not that I know of. You all had stories about how things were that were pretty detailed. We had to memorize new map locations that came through pretty quickly, too.”

Everyone falls silent for a moment. April clears her throat. 

“And… and you think this is all happening, because…. Someone went missing.” 

Leo turns to look at Don— his brows are pulled so far down they’re basically a flat line, pinched in the middle as he works frantically on his laptop. It all looks like graphs and numbers to Leo. 

“I keep dividing by the wrong number.” He states, quietly. “There’s three of us, and yet I’m accounting for a fourth. It only happens when I’m not thinking about it, like—”

“Muscle memory,” Raph finishes. 

Leo looks out at everyone— there’s a reserved energy, like a thick fog of some kind of grief pulled down across them all. Maybe he’d expected someone to react like it was silly, make some kind of joke of things, maybe it would have helped make it feel less awful for it to be a big mass hallucination on their part. Leaky sewer pipe, or something. The severity is both aggravating and reassuring all in one. 

“I kept setting the table for five of us for dinner,” Leo says with a helpless shrug. 

Raph nods. “Our training sessions— we keep leaving our backs open, and I couldn’t figure out why. Like someone’s supposed to be there.” 

To imagine it is kind of devastating in pieces and wholes, Leo thinks. Someone so intrinsically a part of them, someone they worked around unthinkingly, just vanishing like that. Without even the courtesy of letting them mourn. Everyone stays silent for another long moment, that veil of grief is heavier— they don’t even know this person, someone that left a crater so large whatever bullshit vaporized their memory from all of their minds couldn’t even be lifted fully. Like the planet lost its axis without them, like they were constantly bumping into an outline of a person without even realizing. 

“How does that happen?” Leo’s own voice sneaks up on him, he hadn’t meant to speak. Or maybe he had. He’s angry, suddenly, like shakingly, virulently angry— big red neon light style. “No, seriously. How— they just get erased from our lives like that? Without anyone even seeing it?” How did we not notice, he thinks, desperately. “It was one of us, right?” Leo turns to Don, to Raph, to Dad. “Like, like a sibling? And we just… what, forgot them? How does that happen?” 

“Leo…” Raph tries, holding a hand out. There’s an anvil in Leo’s heart, it’s sinking so far down with every step further into this reality he’s forced to reconcile with. 

“No! I— Come on, we don’t even remember them. There’s nothing at all left behind, and yet, because whoever this was mattered so much we still felt it— and that just happens? How does that happen?” 

It shouldn’t, he thinks of forgetting any one of his family and feels like his atoms are misaligned. The idea that any one of them could just be stitched over, skipped like a video feed; his stomach churns dangerously.

A chair drags noisy across the tile, and everyone's attention snaps up. “There are legends,” Draxum starts. “Mystic connections to time and space itself.” He meets Leo’s eye levelly— there’s a catch in them, too, Leo realizes. He doesn’t know why Draxum is included in these events, he made them, sure but he’d also thrown Leo off a rooftop. He’d been antagonizing them for months, and he’d gotten defeated by the Shredder, and they’d all moved on. There’s a gap in his mind, between that Draxum and this one; no explanation for his place here today except for that he is. Because whoever this was that they lost, he mattered to Draxum too, didn’t he?

“If said person possessed enough power, they could feasibly stretch across both the folding dimensions, hypothetically.” 

Don gasps, an aborted noise. “Like… a hole in time.” 

Casey freezes, sitting up taller. 

Leo thinks about his dreams, about being trapped in the nothing and not believing he ever left. Not remembering what got him out at all. A voice telling him that everything would be okay.

“It would take a lot of power,” Draxum continues. “Possibly too much. To change one thread in the thousands like that, I imagine such a feat would be felt across the whole tapestry.” 

“Maybe it already has,” Leo says, detached. Thousands of possible realities, changing and pulling in a million different ways— Leo and the Krang standing on an asteroid, a hundred different outcomes flashing back and forth on a loop, over and over. Looking at his own front door and waiting for someone to come home, even with everyone he loves sitting directly in front of him.

The last dreams, the ones he doesn’t remember— waking up feeling like someone died in front of him. 

He stands up, sudden and sharp— wrenching his hand from Don’s without thinking. “How do we stop it. How do— how do we change it back.” 

Draxum meets his intensity with a cool stare, holding a teacup in his hands carefully. “There may not be. I’ve never heard of such a way.” 

Bullshit, Leo thinks— “If they brought Casey here, they did it again. To get me back. That’s two times, that shouldn’t be possible either, from what you’re saying. So— so just do it again.” He clenches his fist so hard it hurts. “No one remembers how I got out. I should have died in there, with the Krang, right? We closed the portal, so—  But I’m back, because whoever this is brought me back. That shouldn’t have been possible. So we punch a hole through time again.” No one moves, Cassandra keeps his stare levelly, gravely.  “If it takes more power, we have the strongest team the world’s ever seen right here, don’t we?”

Draxum arches a brow. “A lot of effort for someone you cannot recall, is it not? It might put you all at risk as well.” 

It doesn’t matter, Leo wants to say. They did it for me first. He doesn’t care if it’s painful or dangerous or anything else. All he knows is that there’s a gaping maw inside him that he can see now reflected in all of his family where this person is supposed to be. Someone who changed their three to four, someone that made them have half-memories about movie nights and laughter in the lair and someone he misses so badly without knowing that his entire soul feels like it’s hollowed out without them. 

“Maybe this person wanted to go,” Draxum, crosses his arms. “You’d give up so much for someone you don’t remember?”

‘I just— I wanted to say—’

“He’s my son,” Splinter speaks up fiercely, protectively. Everyone falls silent. Splinter falls backwards a step, having leapt to his full height out of seemingly instinctive rage. He looks surprised with himself, then— quietly grief stricken, the same time as Leo’s concaving chest collapses like a burnt out star. 

“Muscle memory,” Raph whispers, agonizingly. 

It echoes around the still room. The hallways seem more expansive in the face of it— a ghost exiting the stage with a rush of air, or one finally being noticed. 

He’s lived in these halls for his whole life, packed in with his three most favorite people in the world to get by the way only their family could. There’s a scuff on the stone just at knee height by the entrance from when he tried to land a backflip on skateboard and broke his arm, theres lines reaching up to just barely five feet around the corner from it. Three sets: red, purple, and blue. 

Maybe now, when he looks around, he’s starting to notice all the empty places. Leo feels like his heart is squeezing through his ribcage with how hard it aches.

Leo squares his shoulders, turns towards his family— there are tears in Casey’s eyes, Donnie has stopped typing frantically and seems to be staring at nothing on the floor. The realization is rocking through all of them in differing stages of devastation. 

“My brother,” He wavers, choking back a well of emotion. “My brother is out there. We’re getting him home.” 

___

“Your dreams are crucial for this to work,” Draxum says. “We’re going to use them as a door.” 

Leo takes the tea Dad makes for him and wills his hands not to shake. 

“Everyone else will focus on Leonardo, follow that thought to where he leads you.”

His last dream is only remnants in his mind, but he’s not sure he could go through it again anyways. Good thing they’re changing it this time then, he supposes. Raph sits cross legged in front of him, closing his eyes with a deep breath. Leo’s hit with the horrible thought of losing any of them the same way, waking up and forgetting they’d ever been here to begin with. His palms itch. 

“Hope we have enough juice in us to pull him back,” Leo jokes, weakly. 

Casey sits beside him, spine straight. He leans a little towards Leo, bumping their shoulders. “I… I don’t remember him, but he must have been there. There’s…. There’s holes if I think too hard. If he was anything like the rest of you, he’ll be fighting just as hard to get back.”

The idea of some vague outline of his brother, an amalgamation of the two beside him, running himself to pieces lost in the dark is hard to swallow also. Raph clears his throat. “Maybe he just needs a bit of a boost.” 

April nods, plopping beside Raph fixedly. “And that’s what we’re going to do.” 

Leo looks at Dad, who’s been quiet ever since the revelation hit them all. Dad shifts, placing a paw on Leo’s shoulder— he looks tired, pinched, like someone closed their eyes and drew him with wobbling outlines. Leo knows how he feels, it aches all the same. He puts his hand on top of Dad’s. 

“Yeah, we got this.” 

Leo drinks the tea and breathes out. It hits him fast — at first, he’s floating in the dark; the difference hits him funny, he doesn’t exactly remember any of the dreams but he knows they start before the fight ends. He knows they never begin with him being by himself. 

It reminds him of a time when they were younger, when Dad had to go scavenge for food and scraps alone and leave them behind with stern orders to stay put. They never really did, of course. 

There was a day where it had been storming up top, he remembers the way the pipes groaned and rushed with the rain like growling monsters in the stone walls, warped by all the empty tunnels and spaces in the shadows. Dad had left to grab food for the next few days, in case any of the pipes did burst as the storm went on or a tunnel threatened to collapse. He remembers that Dad hadn’t wanted to leave them at all, he’d been nervous and anxious and promised to be back in an hour at most. They’d all felt it, staying bundled up for the most part instead of ambling off their creaking furniture or stealing the two markers that were half dried up with use. 

Don had been hungry, he’d had a mild fever, Leo thinks— Don had caught every bug that meandered through the grates in those days, before he figured out which vitamins they were missing and how much sunlight they needed. He remembers the way Don shivered, tucked in at his side. Leo had decided he would be the one to make Donnie soup, despite Raph’s protests. He’d squirmed his way out of the blankets, and taken a few steps towards their makeshift kitchen before the thunder rocked miles above and rattled through every part of New York.

He remembers the way that the generator they siphoned had cut out when he made it through the doorway. 

It’s silly now, maybe— his brothers had been a few feet away, he was still in his house. He could hear Raph calling for him, the sound of his big brother fighting the blankets and Dee’s dazed mumbles and complaints with it. He knew even then that he wasn’t really in danger. It was just that Donnie had just showed him the otter videos, and the pipes were roaring at him, and he’d never actually been anywhere he felt scared at all before. 

There’d been approximately fifteen seconds before Raph crashed into him, another thirty minutes before Dad burst back into the lair and brought the flashlights out from the side drawer, and lit candles for them. Fifteen seconds for Leo to imagine that he was completely alone. 

A much older Leo, then, riding the adrenaline off saving the day— holding a photograph close to his chest, comms fizzling in his ear— 

He’s on the asteroid, ah. This is familiar. 

He’s always here in his mind— the Krang stalking towards him, the light of the ship's explosion dancing like fireworks in the distance. He holds the photograph in his hand, because he’s alone, he’s so alone, but it was worth it. The Krang approaches, tail flicking as it practically curves over him in rage. He’s okay with all of this, really, if it means— 

“Get away from him!” Raph yells, and suddenly there’s a streak of red crashing into the Krang, knocking it through the rock. A flash of purple, and Don’s battle shell appears beside him.

“Could you imagine something more relaxing next time? Like I dunno, a boiling pit of lava? This isn’t nearly terrifying enough.” Don’s hand hovers over his shoulder, like he’s not sure where to put it for a second. Leo grabs at his wrist, overcome by relief for a moment before the words hit. Right, imagine. Because he got out, he didn’t bring his brothers here, they brought themselves. 

“I’m dreaming,” He reminds himself. 

“You are, which is good. My tech can’t really do anything special when we’re in a mystical mental plane, so. Do your, yanno, ‘thing’.” 

“We got the big guy for you!” April crows, he can see her backflipping off the Krang’s head, Casey swinging in to kick at its knees. 

Right. He was here, and something got him out— when he dreams this, there’s always things changing, always things that happen differently. He’s usually here alone, facing down the inevitable reality that there’s no more doors; it was his plan, to do anything to get rid of the threat, no matter what that meant but living it was different. It didn’t happen like this, he knows, but he made it out anyways.

He can feel his family around him, just like the kitchen and the dark. There’s fifteen seconds before Raph crashes into him. Fifteen seconds of him in the dark and— there was someone else there, wasn’t there? 

Leo hadn’t decided to make Donnie soup alone. He’d gone with someone, because… because his brother knew how to heat the soup up the way Dad did, and he was older so he could open the cans. He’d been holding someone’s hand as the room went dark. 

He remembers distantly in all of his dreams here, there’s always someone he’s arguing with. Someone he’s losing. Whoever his brother is, he’s been here with him all along.

“You know, you’re really not supposed to be able to be here,” A voice speaks up. It’s choked in that desperately sad and relieved way all in one that he knows, he knows because it’s— 

Leo’s eyes snap open. His brother’s are fighting the Krang with April and Casey and Dad and Cassandra, and he’s sitting at the rock with the photograph, except he’s above it. He’s looking at the dark, and there’s someone holding his hand. 

He blinks. Blue eyes meet his, teary and bright as always. “Mikey—” he breathes, instinctive, like the name is pulled from the very core of himself. 

His brother smiles a heartbreakingly grateful smile. “You’re really not supposed to be able to do that, either.” 

Leo whirls towards him, grabbing immediately for his brother as some unnamable panic crests over him. His hands sink right through thin air, but he can see him— god, he can see Mikey. 

There’s a light hovering orange around his brother’s form emitting a low glow, like he’s a stick on star. They put those in their bedroom, he remembers suddenly. They had them on the ceiling because Mikey had been afraid of the dark, Leo had carefully climbed all the way up on top of the rickety bunk bed and glued them all on without asking Dad, just to make sure Mikey wasn’t scared. He could still see the outlines of them years later. 

“How— Mikey, what happened, I— oh my god, I forgot you—” How did he let that happen, how could he? His only baby brother, their Angelo. “I’m so sorry.” 

Mikey shakes his head, he’s still smiling even though there’s a pinch to his face that Leo immediately can’t stand. “You didn’t, I made you forget. It’s okay Leo.” 

“It’s not! I— it was so messed up without you, I— Raph keeps ditching us and Dad’s tired and, and nobody reads comics anymore!”

Mikey laughs, wet and sad, and it’s still the best thing Leo’s ever heard. He can’t believe he went months without remembering it. When they get back, he’s going to put on all of Mikey’s favorite stupid videos and listen to him laugh for hours just to make sure he remembers it exactly right every day for the rest of their lives. 

Leo barrels forward, still trying to grab any part of his brother; he’s like sand, he’s like water, the pieces of him are streaming through Leo’s finger tips. “It’ll be okay now though, we— Raph will stay in if you’re here, and Don’s stuff’s in your room, but we can move it. He’ll make you a bigger room if you want, you know he will—” 

“Leo,” Mikey cuts in, carefully. Hedging. Leo’s heart crashes through into nothing, he swallows roughly. 

“No,” He tries for a laugh, he remembers this now. He knows what Mikey is going to say. “You’re wrong, stop it. You said— you told me that it was the only way, that we’d all forget.” 

Mikey’s shoulders lift and drop, slow and tired. “You did. It’s okay.” 

“It’s as far away from okay as it can possibly be! You said we wouldn’t miss you, but I did, Mike. I did anyways, we all did. We knew— there was this giant hole right in the middle of us. It shouldn’t be possible, you said it yourself— that means something, I know it does. So— stop trying to tell me to leave or, or whatever else you’re thinking. I’m not going anywhere without you, right now.” 

“I missed you,” Mikey’s crying now which activates every ounce of dread left in him. He looks exhausted, pale and drawn out even with the strange glow.  “Leo, I’ve been trying, you have to believe me.”

Leo shakes his head, furious with heartbreak. “Try harder, then!” His fists clench. He’s not having this same conversation again, he’s not waking up one more time feeling like the world just ended in front of him. He’s not doing this without Mikey, it’s not happening. “I’ll just keep coming back, you know I will. You see that down there?” He gestures at their family, fighting the Krang that isn’t even here anymore, just so Leo won’t have to face it by himself. “They’re not giving up on you. I’m not giving up. I won’t ever, Ang. Don’t ask me to.” 

“Leo—” He says with a sigh, like the decisions already been made. 

“Mikey, stop,” He practically growls, panicking; something crashes behind him, down below where the fights going, he doesn’t look. He refuses to take his eyes off Mikey for a second in case he decides to fade away again. There has to be something there. There’s something to this, he knows there is. Since Leo was small, there’s been a constant he’s held close. It’s proven itself over and over again; when Raph fought through the Krang control, when their Dad gave up the world to save them and they saved it too, every time his brothers pulled through the impossible. Together, they’re stronger than anything— he knows this, he knows it. Mikey put a hole in the world to keep Leo safe. The universe rewrote itself because he made it change, and it only took them a month or two to see the threads anyways. The thrum in him is louder again, but it feels tethered somehow here. Like he could wrap himself around the line of it in his chest and pull. 

“We’ll keep remembering, as long as it takes, you know we will. It doesn’t matter how many times we forget, we’ll always remember you I swear—  Michelangelo, you’re my only baby brother, you think something as stupid as the universe can take you from me?” 

The waterlogged smile he gets could power the sun, he’s sure of it. He leans his head forward, where their foreheads would touch if he could. 

“You have to come back. I don’t care what we have to fight, we’re getting our little brother home.” 

“I want to, Leo, I just— I don’t know how. Not without losing you.”

He wants to say he’d do it, he’d jump right into the black hole to switch places but he remembers how this always went. Mikey learned it from him, from Raph, from their Dad, after all. It wouldn’t fix anything to lose himself either— maybe that’s the lesson at the core here. Leo was never alone on the asteroid, because his baby brother was breaking through space to get to him. And Mikey should never be alone here.

“It’s okay, Angelo, I—” He swallows again, Mikey looks so, so tired. He’s been here for months, Leo realizes, watching them all skip over him and time rewrite without him—  He has an idea, maybe it’ll break everything but he would. For Mikey, he would. “When have we ever played by the rules, hey? Mad Dogs make our own path, right?” 

He'd do anything for his little brother, including break the universe back. Without hesitating, watching Mikey's expression shift from sad to confused, and just that touch of hopeful, he grabs that thread in him, the one that’s been bright and loud and constant for months, and he pulls. 

___

There’s a thunderstorm somewhere far enough— Mikey can hear it in the pipes, in the walls. He’d only seen the sky when it was like this once, rolling gray and dark with thick bolts of lightning scattering apart; through the sewer grates it had looked almost like TV static, far away and strange. It’s loud up there and down here, the water rushing past all the chunks of stone that make up their home and away. 

Leo doesn’t like it, Mikey knows. Every time it storms, his eyes get more white than dark. All big and round and alert, and he jumps at everything. He thinks Mikey doesn’t notice. 

Raphie says it's okay to be afraid of things, like going up top because it's dangerous and they can’t run away or hide good enough yet to be safe. Raph’s afraid of the little dolls that they sometimes find washed up at the bottom of tunnels, he says they have empty eyes and it makes him uneasy; Donnie says Raphie watched a movie on TV that he shouldn’t have. Mikey thinks he’s probably afraid of the monsters in the tunnels, even though Donnie says they aren’t real— he’s heard them, though. He’s sure of it. Donnie also says that people think his brothers are the monsters, which is silly. 

Donnie’s afraid of a big word Mikey never remembers— he says the sun will burn out one day like it runs out of juice and everything will freeze like an icicle forever. He says this like its obvious, but he spends a lot of time reading about it anyways like he can make it go forever if he tries. Mikey thinks he could, Dee made their TV work so it’s probably possible he can do anything. 

Mikey’s not sure what Leo’s afraid of. He knows the water is loud and sounds like the monsters are just outside the doors sometimes, and that they had to leave their old house because there was a pipe that was too old in a wall and it made all their food wet. Leo says he’s not afraid of water, though, and he cannonballs in as big and bright as Raphie whenever they swim in the big water spot down the way. Leo also says monsters aren’t real, and that he’d chase all of them off for Mikey if they were, and he doesn’t think Leo could do any of that if he was scared of them. 

He’s still jumpy when it’s stormy out, though, and never wants to go too far from their room when Dad leaves to find food or things they need. It sure seems like Leo is afraid of something, but Mikey knows his brothers and he knows that Leo is brave and funny and sometimes sneaks cookies from the top shelf for him even when he’s not supposed to. Leo’s not afraid, because it’s Mikey who’s always afraid. 

When Mikey was convinced there was a monster in their bathroom and had been too terrified to run and get Dad, Leo was the one who’d picked up his practice katana and charged in yelling. When Mikey and Leo had gotten stuck in the closet while they’d been playing hide and seek, Leo was the one who started telling him a big dramatic story so it would stop feeling so small. 

It is okay to be scared, but Leo never is. 

“Leo?” He calls— he’s too small to grab the big light, the one Dad says they should only use in emergencies, but it’s dark and Dad went to grab something outside, and Donnie’s been sick so he can’t fix it like he usually does. He thinks this is maybe an emergency. 

Mikey wasn’t supposed to even be away from his brothers when Dad went outside, but Leo had said he’d be right back before the lights went out and Raphie had asked him to check on him. The water is loud in the walls. 

“Leo? I— Raphie says to come back,” He tries again. His voice only wavers a little, and he’s pretty proud because he thinks he might actually be very scared standing in the dark by himself. He doesn’t remember their living room being so big, or the kitchen being so far away, but it feels like miles and miles. It’s cold out here, too. 

Something rattles around the corner near the kitchen. Mikey jumps before realizing it’s probably Leo— sometimes he plays pranks like that, hiding around a corner to jump out. He thinks it’s funny how loud Raph and Mikey will yell, but it’s not. Mikey made a promise to himself that he wouldn’t scream anymore so Leo would stop doing it— he squares his shoulders, and balls up his fists as best as he can. “It’s okay to be afraid,” Mikey tells himself softly.  

Donnie says being scared of the dark is natural, that it’s some behind the brain thought that means other turtles survived longer. Being nervous was helpful, once. Him and his brothers are going to be ninjas soon though, and ninjas weren’t scared or nervous, they were careful. Dad always says that, to be careful and sure. Mikey tries to walk more slowly, quietly— not because there are ghosts waiting for him, but because his stinky older brother that likes to scare him might be. And Mikey isn’t scared, because he’s like Leo. 

The kitchen is strange in the dark, it’s wide and tall, and Mikey doesn’t think he’s ever noticed how high the ceiling goes. There’s an extra splotch of darkness at the very top, he imagines as a big bug waiting for him, and swallows nervously. 

He manages a whisper. “Leo…?” 

He imagines a different time, coming through the dark kitchen. Maybe he’d help Leo with the soup because Mikey wasn’t old enough to use the can opener or reach all the pans, but he watched Dad make it real close, and he knows you have to turn the stove handle to the right dot to make it heat up best. Maybe Leo would be here, and he’d jump out at Mikey and he’d be brave enough to not flinch, and Leo would ruffle him on the head the way he does. 

“Um,” He swallows again, willing himself not to cry as he takes in the empty room around him. The pots and pans look menacing hanging above him like this, like teeth waiting to fall, and the splotch on the ceiling is moving he’s sure of it. The rush of the water seems louder, too, like it knows Mikey’s here and his brothers can’t find him because it’s too dark, and Dad isn’t home to fix it. “This isn’t funny, Leo.” 

Maybe none of them happen, because Mikey is in the kitchen in the dark, and he’s waiting for Leo and he’s scared, and there’s no Leo at all. He turns to look for the door, to go back and wait with his brothers— it’s too dark, suddenly, to see where the door is at all. A pipe groans, or maybe a monster growls, and he squeaks, throwing himself at the nearest wall. He tucks himself in small, holding his knees close. After a moment, nothing moves— another moment, another nothing. 

The room is darker now, he can’t even see the splotch on the ceiling. He’s not sure he’s in the kitchen at all. 

“I’m lost,” He says to his knees, and presses his face into them to hold himself smaller. 

Dad will be home, and he’ll turn the lights on, and everyone will make fun of Mikey for being so scared, and Leo will pop out of the corner he’s hiding in and maybe Mikey will even cry. It’s okay if they make fun of him, as long as it's not dark anymore. As long as he stops being alone. 

He thinks he’s maybe been alone for a long time. 

“--key! Mikey, hold on!” 

Mikey blinks up, around— that sounded like— 

“Mikey, is that you?” 

He jumps, the kitchen— he can see it again— it’s still dark, but if he squints, he thinks he can see a figure on the other side, by the table. 

“...Leo?” 

The figure moves, uncurling itself from underneath the chair legs and shakily standing up. Mikey manages a brave shuffle closer as his eyes try to adjust— it is Leo, rubbing at his eyes fiercely and clearing his throat. “Jeeze, Mike. Way to sneak up on a guy.” 

Mikey almost doesn’t move for a second, feeling strangely out of place. “Mike?” Leo says, nervously, and all of the neurons in him rewire with a sharp burst in his chest as he scrambles forwards, throwing himself into his brother's arms. 

“It was dark! And— I couldn’t find you!” 

Leo’s hand comes up to hold the back of Mikey’s head, like he always does. “Hey— shh. Angie, it’s okay, hey? I've got you, always got you.” 

Mikey leans back, and scrubs at his eyes, trying to glare as fiercely as he can at his big brother in spite of the tears. “I was calling for you, and— and you couldn’t hear me!” Leo winces, something sheepish lacing across his face. There’s something else too, Mikey can’t read it so it doesn’t matter he figures. Leo always tells him, he always listens. 

“I heard you, I promise,” He holds Mikey closer for a second. “Sorry it took me a while— I always heard you.” 

He doesn’t know what that means but it appeases something in him anyways, he squeezes his brother as hard as he can. “Don’t go off on your own ever again,” Mikey tells him, muffled into his chest. “You gotta take me with you, too.” 

Leo doesn’t say anything for a long moment, humming quietly as he rubs Mikey’s shell. “I’m here now, hey? Not going anywhere, you’re not getting rid of me.” 

That’s good, he thinks. That’s where he should be. Here and nowhere else. Mikey’s not brave enough to be alone without him. 

He feels embarrassment wring through him. “I was scared,” He confesses, apologetic. Leo will probably tease him for it, when it’s light again. He’ll probably tell Raph like its a joke, but then stick more glow stars on the ceiling for him anyways. 

“Me too,” Leo says, quietly. “I was. I was really scared.”

Oh, Mikey blinks, rewires his thoughts. “Don’t have to be scared,” He tells Leo, because it’s what Dad says to him, too. “I can be brave and we can take turns.”

Leo laughs, gentle and quiet, his hug gets so tight Mikey debates telling him to let go, but— he’s shaking, a little, like he’s breathing all funny. He doesn’t want to tell Leo to stop if it helps. 

“Okay, little brother.” 

Mikey leans back, and takes Leo’s hand in his. He looks around the kitchen— it seems smaller, now.

“We can go now,” He says, and he’s not sure why. Leo’s mouth is flat and terse like it is when he’s really sad, but he manages a small smile anyways. 

It’s not as many steps to cross the room, and the splotch on the ceiling is just a shadow, really. He pulls Leo along behind him, squaring himself as bravely as he can. It’s easy, with Leo’s hand in his. It’s just a silly room, they make cereal bowls in the morning and sometimes Dad lets them put salt in the pot for spaghetti, and Leo makes silly faces when they clean dishes to make it fun. It’s a room in his house, and he’s safe here even when the pipes are loud and it’s dark. It's a room and Leo's here, and they're safe together.

He thinks about Donnie, waiting for soup. About Raph and his big worried bros, and the way he lets Mikey climb up on his shoulders to see up higher. He thinks about a hallway, and the twelve and a half steps to the stairs and the ten steps up to their floor, and the ten more steps to their bedroom. There’s something warm in his fingertips, in his chest, like he’s just had soup, or been bundled up in his favorite spot in their hammock between his brothers, and Dad is in the hallway turning off the light. 

The yellow through their ratty blue blanket always turns red and orange at the side, purple at the bottom. 

He can see the door to the hallway now— it’s not far to where his brothers are, and Dad said he’d be home soon. Mikey thinks he might be tired, though. He thinks he’s been tired for a long time. 

“I want to go home,” He tells Leo, from some place outside himself. His hands tingle funny, he thinks he’d like to rest, but the door is right there and he made it, and it’s glowing bright as anything— 

Leo’s hand is firm and warm and squeezes back, and he can take another step. 

____

Mikey wakes up warm. 

He stretches, reaches as high up as he can to touch the wall behind his headboard, same as he always does. He feels the grooves of the stone under his fingers, and the light vibration of the pipes behind it. He feels the stiffness in his spine loosen, uncurl, like he’s been tucked into his shell for too long.

It’s quiet, he realizes; his home is a ripcord of motion normally. Raph always gets up early and makes tea, and sits with Dad for a little while before Mikey ambles down to get breakfast going. He can usually hear music already, or Don’s electronics whirring if he’d pulled another all nighter, or the thrum of a TV. There’s none of that now. If he focuses, he can hear soft puffs of breath somewhere beside him. 

The realization doesn’t hit him for a long moment. He opens his eyes and sees his room, the outlines of plastic stuck on stars on the ceiling, the pile of comics tucked carefully onto his bookshelf, and — Leo. Sleeping with his head on his hand, leaning half onto Mikey’s bed from the floor. 

He blinks and— 

He’s standing on an asteroid, the one he lost Leo on. Some unthinkable distance away from home, caught high up in the air and all alone. The Krang is missing, because Mikey did it right this time, finally. He found the branch within all the branches that would get Leo home— the one where Mikey never existed to begin with. The only branch where Leo grew up being the baby of the family where his overprotective brothers never allowed him to even venture into self-sacrificial acts of heroism. The only one where Leo figures out a different plan.

They’re happy here, he knows. They will be happy here, even if Leo doesn’t believe him. 

His brother is all highlighter outrage and heartbreak, a full study in devastation in technicolor, and all Mikey can think of is that he loves him. That he’s glad he’s safe. That if this is the only gift he can ever give any of them again, a way to skip grieving at all, then he’s glad. He’s only sorry to be the one leaving first. 

“What are you talking about?” Leo’s voice shakes, his eyes are wild. He’s not supposed to even know what’s happening, not supposed to be able to talk to Mikey like this, but his brothers have always had a way of doing the impossible. “You’re not going anywhere, stop it.” 

“Leo, it’s too late. I’m– I’m not going anywhere, not really. You’ll see.” 

Leo’s expression twists further, it hurts to look at, it does, but Mikey makes himself memorize all of it just in case. 

“You think I’ll let that happen?”

“You don’t have a choice—”

“I don’t care, Michael. I don’t— what. My baby brother is badass enough to change space and time just because he decided to, and you think I’m going to let that one up me? If you can change the timeline, then so can I.”

Mikey smiles, despite himself. He wonders how it’s possible to be so afraid and full of love all at once, he doesn’t know how there’s room. "Leo, you have to let me go. It's okay."

His big brother is so, so sad. It aches and hollows him out to see it, he's never seen Leo like this before. Like the sun just burnt itself out right in the sky. “If I let you go, I'll lose you." He says, simply, horrifically. 

"Maybe that's how it's s'pposed to go," Mikey shrugs, hiccuping on a sob.

Leo's expression shifts, firm lines pouring in between. He leans close and pokes him in the chest, eyes flashing fierce. "It's not. It can't be, I won't let it. You’re not going anywhere, baby brother. I’m not doing any of this without you.” 

The world unravels apart in front of him and Leo’s eyes never leave his. 

“You awake?” 

Mikey jumps, hands curled tight into his comforter so hard it hurts. Leo’s staring at him now, expression entirely unreadable. 

“Leo, I—” 

He holds up a hand, swiping at Mikey’s chin gently. “Great to see you up. Worried we weren’t going to be able to wake you for a bit there. How are your hands?” 

His hands? Mikey blinks down at himself. His hands are a network of glowing lines, worse than before. Last time they’d opened up like fissures, pure gold creeping through before settling into paler scars against his scales. Now, it looks like his hands are barely holding back straight sunlight, more cracked lines than not. It doesn’t… hurt, though. 

“Okay,” He says, his voice is croaky and small. Leo smiles at him, rubs the top of his head in a smooth motion before standing. 

“I’ll let Don know you’re awake, he wanted to check in on all of that.” 

Leo hasn’t actually looked him in the eyes, Mikey realizes with a pang— instinctively, desperately, he grabs Leo’s hand before he can walk away. Some part of him terrified abruptly that Leo’s so furious with him it’ll be like this forever, never quite looking at him but too scared to leave. Like magnets constantly repelling each other. Leo's his best friend, just like Donnie and Raph, but he's always wanted to be as brave as Leo was his whole life. He can't be mad at him for doing what Leo would have done, did do a thousand times over, he can't.

“Don’t— um. Don’t go?” 

Leo’s shoulders hitch high, he’s staring at the doorway flatly. Tense. Mikey has an insane urge to apologize, desperately, but he’s not even really sorry. If Leo’s here then he did it right, it was worth it. If Leo’s here then Mikey made the correct choice, no matter what Leo thinks.

They stay like that for a long second, Mikey holding Leo’s wrist with both hands, Leo facing away. He can feel Leo’s pulse under his thumb, it’s settling some terrified white noise in his head, in spite of himself. He can breathe knowing Leo's here.

Actually, he’s breathing a lot— big heaving breaths that tear through him all at once. He can feel Leo’s heartbeat and he’s alive, and Mikey’s here, and he can see him and— he was so tired of being alone, of trying to be brave. Maybe he always believed Leo would find him, maybe that wasn’t fair of him at all. He just doesn’t want Leo to hate him for it. 

“I— I…” He tries, the sentences evaporating into nothing before him. 

Leo turns instantly, switching their hands so he’s holding onto Mikey’s wrist just as tightly. His eyes are wet, Mikey realizes. 

“Angelo—” 

“Leo—” Mikey stops, bites his lip. Leo doesn’t look angry, not really, but he’s not sure. “I’m. I’m just happy to see you.”

Something crashes across the flat dark of his eyes, splintering it apart like a lightning storm, all motion and sparked urgency. 

“I missed you so much,” Leo says, and pulls him into a hug. 

Mikey gasps, tears falling from wide eyes. “I thought… I thought you’d be mad.” 

“I am,” Leo sniffs, choking on a breath as he bundles Mikey closer. “I’m so fucking mad at you, but I love you and you were missing. Don’t ever do that to me again.” 

“You jumped first,” Mikey manages, some backwards anger from a reality that no longer matters leeching forwards. 

Leo shakes his head, hooks his chin on top of Mikey’s forehead. “Big brothers are supposed to do stuff like that. I knew you’d save my shell.” 

“No you didn’t,” Mikey argues, balling his fists up to push at Leo’s chest. “You didn’t, because I didn’t even know. You were going to leave me behind.” 

There’s a fraction of a space between them as Leo lifts his head, and it’s horrible. His eyes are swollen red, tears still streaming from them; he looks just as heartbroken as before, but Mikey’s fine. Leo shouldn't look like he's still losing Mikey when they're here together, that's silly, that hurts in a way Mikey doesn't know how to make better. He puts both hands on Leo's cheeks anyways, to keep him in one piece all together.

“Never,” Leo swears wetly. “I’ll always come back for you, you hear me? Nowhere you can go I can’t annoy you back where you belong.”

“Same for you,” Mikey insists, it sounds like begging. “I’m a badass mystic warrior now. I’ll just drag you back home.” 

Leo lets out a shaking breath, and Mikey sniffles too.

"I was trying to tell you that I loved you," Mikey offers, wobbling all the way down to the core of himself. "Did you hear me?"

His big brother's face twists, crashes to pieces and his shoulders shake, leaning all his weight forwards into Mikey's hands and closing his eyes. "Course I did," He says, as easy as anything. "Of course I did."

____

Leo has another dream. 

It’s softer— it’s not on the asteroid, there’s no Krang or portal or giant ship. He’s younger, skipping through the sewers after his Dad and his brothers. Dad has Raph’s hand in his, and Raph’s holding onto Donnie’s sleeve to make sure he doesn’t stray too far either. He gets distracted sometimes, by the details that pile up in his head. Raphie keeps an eye on Donnie though. 

Leo’s supposed to be doing something, he thinks. 

The tunnels are tall and wide, and there’s hints of lights through the grates high up above that make spackled golden dots on the stone. He peers closely at a puddle, the way the light seems to absorb it all in. When he looks up, his family is trailing farther away. Faint outlines in the murky distance— he needs to catch up, he thinks. Or when the rain comes we’ll get separated. 

Dad’s watching out for Raph, who’s watching out for Donnie, though, so they’ll be okay. It’s Leo’s job to make sure they don’t get separated. 

The tunnels are still light, but they’re long and the splotches of light look like sun through the tree leaves, and his family turns a corner. Leo’s alone. 

He wakes up, standing in a tunnel. 

It’s dark. Of course it’s dark— for a disorienting moment, Leo’s not sure he’s actually awake. The jumpcut between his last memories of ambling off to bed to now don’t seem to fit in any way he can make sense of, but the stone under his feet is cold and solid anyways. He knows this tunnel, probably. He knows all of the offshoot tunnels by their home like the back of his hand— he’s not lost. He isn’t. 

He is alone, though. 

The dream is still floating through his mind, a cloud that hasn’t fully let up and drifted off as it weighs thick and heady. A thundercloud, dropping low with all its gray and heavy lightning. They didn’t wander off without him, he knows— except. It’s just that they could have, couldn’t they? Any one of them could be cut clean through again. 

He knows the memory his mind had latched onto. His heart beats frantic and loud for a moment as he realizes. He’d been there with Mikey, it was his job to watch his baby brother; he’d been there with Mikey, but he’d forgotten again. How could he have forgotten, again? What if he hadn’t fixed it, not really, and any one of them could fade out of the forefront without him noticing? 

The tunnel is dark, and he’s alone— he knows this tunnel, his home is a few steps around the corner, and he must have slept walked all the way out but he can go back. He knows his brothers: Donnie, Raph, Mikey. He hasn’t forgotten them, he hasn’t. 

There were fifteen seconds that he was alone in the dark when the power went out. 

“Where do you think you’re going?” Raph’s voice bounces off the stone around them— Leo whirls around before his mind catches fully up, and Raph sweeps him up further into a bear hug with it. “Pretty sure you’re still grounded.” 

Leo blinks frantically, feeling the slight tremble of Raph’s arms around him. Donnie peeks his head over Raph’s shoulder. “So, turns out I didn’t remove the trackers on all of you that I said I did, go figure.” 

“Which I’ll allow this one time, on account of bozo activity.” Raph says. “But we will be revisiting at a later time, with Dad.” 

“What—” Leo turns his head. Donnie’s pretending to type on his wrist guard, but his eyes keep flickering up at Leo and away. Raph’s smile is tense at the edges. They’re here, they’re real, he hasn’t forgotten them, but then— 

Raph continues, he’s herding Leo forward and beginning the walk back home as he talks. “Maybe we give up the whole sleeping in separate rooms thing tonight and do a sleepover instead. We can put your favorite on.”

“I won’t even argue on which film is the best, this one time only,” Donnie says, magnanimously.  

Oh, Leo manages a shaky smile back. The ball of nervousness bubbles in his chest, he tries to swallow it down. “Better not be Punch Chowder then, because—”

“That’s only for criminals,” Mikey chirps in, patting Leo on the arm as they’re bustled forward. The knot in Leo’s chest relaxes. Everyone’s here, he didn’t forget them. The gratitude is nearly overwhelming, his knees nearly give out before Mikey swoops in under his arm, wrapping his own firmly around Leo’s shell. 

“Movie night sounds good,” He manages. His family, all where he can see them, can be sure he won’t wake up without any one of them. It sounds perfect. 

The lights are on, the tunnel is bright. He’s watching over Mikey and he’s holding onto all of them, and his hand is in Don’s. 

Yeah, he thinks. Everything where it’s supposed to be. 

[thatgirlonstage]

I keep seeing that “people who died due to hamlet’s tomfoolery” post going around and I know it’s not that deep but I am getting Annoyed

Hamlet spends the entire play being reprimanded for mourning his father, stalked, spied on, and then subjected to repeated assassination attempts. More than one of the deaths he “causes” occur as an act of self-defense. And yes part of the point of the post is that there is collateral damage to revenge that one doesn’t intend but it is so so so important to the play that Hamlet’s revenge is driven by fundamentally different forces than, say, Iago, or Edmund from Lear, or even someone like Prospero. Those characters could just stop. At any moment they could just make the choice to stop and they could come out better for it (Prospero does). Hamlet could stop, but the price is the genuine danger that his uncle will have him killed. His uncle does have him killed. The poisoned sword is on Claudius and Laertes’ hands. It depends on your staging and acting choices, but Hamlet does not have to go into the duel with intent to either die or be killed.

Even before assassination becomes a serious consideration—before Polonius’ death—Hamlet has still been backed into a corner where he is being constantly harassed by his uncle, his mother, Polonius, two school friends his uncle and his mother recruited to spy on him, and the girl he likes, who may or may not be doing it willingly but is still engaged in spying on him nonetheless. Like. Do you get what kind of hyper-defensive, paranoid mental state that would put you into? Is it really a surprise he overreacts to Polonius’s presence behind the curtain?

I don’t know man, I’m just ranting, I just think people are way too ready to drag Hamlet for failing to fix the rotten thing in the state of Denmark when he spends most of the play just trying to fucking survive

[lostsometime]

WHAT IS THE FIGHT SCENE CONVEYING? (part 3 of 3)

(Part 1) (Part 2)

Episode 6 - Arlong & Company vs. Luffy, Sanji, and Zeff: We need to establish how scary-strong fishmen are before we really get into Arlong Park. Also important to set up that they’re invulnerable to bullets!

Since they’ve cut the whole Don Krieg bit, it’s also important to get in here Sanji being willing to die for Zeff - this is a fairly vital aspect of his character, so they stick it in here.

Episode 8 - Fishmen Crew vs. Strawhats: One of the smartest things I think they do in adapting this sequence is that they don't do the typical shonen manga thing of "everybody gets a miniboss.” It’s unnecessary, and it REALLY doesn't fit in a format that's as condensed as this (EIGHT! EPISODES! I mean come ON!) but they DO keep the important character development that happens in everybody's miniboss fights from the manga! It's very clever.

We get to keep Usopp vs. Chu, which is excellent because it gives us our first actual look at Usopp in a fight! We knew, abstractly, that he was a good shot, but he was just messing around before. And we knew, abstractly, that he was creative, since we saw him making smoke bombs in the previous episode. But this finally lets us see him using that creativity on the fly, figuring out how to close the gap between his own (normal human being) strength and that of his opponent (fishman) or his crewmates (crazy fucking human beings capable of fighting fishmen on equal footing). We also see that even when nobody's watching, when he has no one to impress, he really is much braver than he gives himself credit for.

Then the rest of the fishmen pirates can be handled by Zoro and Sanji working in tandem, which lets them bond in the only way they really know how, which is by having each other's backs in a fight (while also ragging on each other because of course).

We keep the handicap Zoro's operating with, being a) Mihawk'ed almost in half very recently and b) down 2 of his swords, but we cut the whole underwater subplot which is objectively the correct choice for this adaptation (even though it is one of very very few scenes i actually remember watching in the anime when i was a kid and would have had fun seeing it adapted.)

Importantly, we do get the element that, like, Sanji's whole Chivalry thing isn't for show. He's genuinely angry at this guy for talking shit about Nami. This isn't an act he puts on, it's a genuine and deeply held value for him - and that can be annoying, frankly, but it's still a relevant piece of his character to get across.

Also, like i said in a previous reblog, we get the moment at the end where Sanji (who also had a pirate for a mentor lmao) says the same thing that Luffy did in the first episode, and you can see Zoro begrudgingly accept that they're gonna have to be friends now. Zoro likes Luffy so fucking much. Luffy has fundamentally altered Zoro's sense of identity, he has changed the genre of story Zoro lives in, and he cannot continue to treat Sanji as an outsider when Sanji reminds him even a little bit of Luffy. It's really cute.